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rOC: 
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COSPONSOMD 


the division of recreation 

DEPARTMENT OF PUBLIC PROPERTIES 
OF THE CITY OF CLEVELAND. 

HAROLD H. BURTON. ?Tlapcrt 

HUGO E. VARGA. 'DUzdbt 

DepaAimerub of 'Public 'PAcpottie-d,. 

J. NOBLE RICHARDS CojRrnjiMUmet. 

or 7ceote.aZc.on. . 


PLAYLEADE 
GUIDE 

THE OHIO WRITERS’ PROJECT 


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MAY 2 1942 

Accessions D vision 

The l BRAKY of CONGRESS 








fA-xc-cr “tv t»t 




The Playleader's Guide 


Compiled by 

Workers of the Writers’ Program 
of the Work Projects Administration 
in the State of Ohio 


Sponsored by 
The City of Cleveland 
Department of Parks and Public Properties 
Division of Recreation 


1940 


G-V^ZS 

,W 7 


The Ohio State Archaeological 
and Historical Society 
Columbus 

Statewide Sponsor of 
The Ohio Writers' Project 


FEDERAL WORKS AGENCY 
John M. Carmody, Administrator 


WORK PROJECTS ADMINISTRATION 
F. C. Harrington, Commissioner 
Florence Kerr, Assistant Commissioner 
Carl Watson, State Administrator 


Note 

This guide for the use of playleaders 
was prepared by the Ohio Writers' Project in 
the district supervised by Alice J. Miskell. 
Material for the manuscript was supplied by 
Miss Margaret E. Mulac, supervisor of women's 
and girls' activities in the Division of 
Recreation. 

HARRY GRAFF, State Supervisor 
The Ohio Writers' Project 


Foreword 


The work of a recreational leader is charged with 
responsibilities and obligations. Overstreet has 
written, . . there is an obligation upon adults in a 
community to provide (for children) forms of recreation 
that seem to have proved themselves most fruitful in 
happiness, vigor, and sportsmanship...." On that basis, 
much of the subject matter in this manual has been se¬ 
lected. 


All of the subjects have purposely and necessarily 
beeD dealt with meagerly, because the purpose of the 
manual has been to acquaint the leader with the numerous 
opportunities for good recreation that lie within the 
reach of the children, rather than to leave him well- 
informed on any one subject. Instead, we have attempted 
to give just enough of the best of each subject to create 
in the leader a new interest that will not be satisfied 
until it is further developed. 

Similarly, if a leader acquaints the child on the 
playground with some new opportunity for joyous living 
that will remain as a source of pleasure and satisfaction 
for years to come, this leader has performed an invaluable 
service to the child and to the community in which he lives. 
This leader has fulfilled to some extent the obligations 
and responsibilities with which he has been entrusted. May 
we all resolve to give to the program those things that add 
to the richness and fullness of life and to shun those that 
are shoddy and weak. 


Margaret E. Mulac 


Chapter I 

GENERAL PLAYGROUND 
ADMINISTRATION 


- • - 


First Day on the Playground 

Playground Regulations 

Weekly Institute 

Substitute 

Resignation 

Planning the Playground Program 
Summer Playground Bulletin--1940 
Playground Pickups 
Playground Procedures 
Playground Neighbors 


Bulletin Boards 




FIRST DAY ON THE PLAYGROUND 


1. Check the playground kit of games equipment with the superintendent. 

2. Check the first aid kit. 

3. Arrange for a bulletin board. 

4. Check condition of apparatus. 

5. Survey ground conditions. 

6. Organize a clean-up campaign if condition of ground warrants. 

7. Secure barrel or box for rubbish. 

8. While checking, get acquainted. Ask for names of the youngsters on the 
grounds. 

9. Do not issue equipment unless a group is to use it. Make one person 
responsible for its return. Get this person's name. 

10. Post your name so that the youngsters will see it and learn to know it. 

11. Begin your program activity. Introduce some game or stunt which you 
are certain will have a strong appeal. 

12. Do not attempt to show or teach all that you know; show enough to arouse 
interest on this first day. 

13. Smile. 

14. Take time to get acquainted--ask for names; talk about last year, what 
they are interested in, who's who among the champs. Make the first day 
a "welcome home"--a "glad-to-see-you" day. 

PLAYGROUND RULES # 

Weekly Institute 

All workers are required to attend the regular weekly institute and any 
other institutes which are held during the summer. 

Be punctual. Tardiness will be counted as absence, and the worker will 
lose one-half a day's pay. 


Substitute 

Arrangements for a substitute must be made with the superintendent at 
least 24 hours in advance. 

A substitute shall not be requested unless the worker's absence is un¬ 
avoidable. 

The worker must notify his superintendent if the substitute cannot 
report on time. 


SUPERINTENDENTS 
Miss Florence Bundy 
Mr. N.A. Focarett 
Mr. E.E. Gamblee 
Mr. James Bennett 
Mr. Bernard Ostrovsky 
Mr. Edw. Gresham 
Mr. Robert Templay 


TELEPHONE NO. 
Pr. 9234 
Ga. 9258 
En. 9830 
Me. 9830 
Mi. 9880 
Ch. 9677 
En. 9565 


DISTRICT 

Central 

Woodland 

Portland Outhwaite 

Clark 

Broadway 

Lincoln 

St. Clair 


8 


Notice of Resignation 

Workers are required to give at least three days’ notice before 
resigning, so that replacement may be made without loss of time to 
the playground. 


General Playground Rules 


PLAYGROUND RULES 

1. There shall be no smoking on the playgrounds by workers, 
visitors, or children. 

2. Profanity shall be discouraged. 

3. Bicycles may not be ridden on or across the playgrounds. 

The rider shall dismount and wheel his bicycle when on 
playground property. 

4. No hardball may be played on a playground. 

APPARATUS RULES 

Swings 

1. No person over 14 years of age shall use the large swings. 

2. No standing or pumping is allowed on swings. 

3. Only one child at a time is permitted in a swing. 

Baby Swings 

1. No child over 6 years of age is allowed in the baby swings. 

2. No standing is permitted on swings. 

3. Only one at a time is to be in the swings. 

Giant Strides 

1. No child under 8 years should use the giant strides. 

2. Do not allow winding up of chains to give one person "a ride." 

3. Warn children to come in close to post when stopping and not to 
let chain swing. 

PROCEDURE IN CASE OF ACCIDENT 

1. Give first aid in all minor accidents such as cuts, scratches, etc. 

2. If accident is serious 

a. Make patient as comfortable as possible and notify 
parents at once. 

b. Give first aid if necessary or advisable. 

c. Notify Recreation Department by telephone as soon as 
possible--MAIN 4600. 

d. Urge all children to continue their play activities. 

e. Fill out the accident report in complete detail and 
submit it to the recreation office. 


9 


Do not call a doctor without parent's permission unless you are willing 
bills yourself. Tbe department does not pay doctors' bills. IF 
THE ACCIDENT SEEMS VERY SERIOUS CALL THE POLICE. 

PLANNING THE PLAYGROUND PROGRAM # 

Weekly forecast sheets are to be prepared by each worker in duplicate 
one copy going to the superintendent and one being retained by the worker 
and posted on the playground bulletin board. Since the forecast is a 
plan or schedule for events on the playground, it should be carefully 
thought out beforehand so that it will be a workable plan and can be 
followed. The superintendent will check on whether or not you are follow¬ 
ing your forecast when he makes his visit to the playgrounds 

a 7u gUla , r Ume ° f day f ° r P articu,ar activities whenever possible, 
and follow the plan so that children will know when to be on the grounds 
tor particular activities. 

playground has its own Peculiarities; what may be the proper time 
tor handcraft on one ground may not be suitable on another. The leader 

accordingly. 1116 ^ ^ ^ Week ^ plan his pr ° gram 

Below are listed some hints on planning programs: 

L The first fifteen minutes should be devoted to opening 
the playground, inspecting equipment, policing the 
grounds, putting up the bulletin, etc. 

2. Workers who work the first shift in the morning will 
devote their time to the very young children. Simple 
Singing games, simple crafts, storytelling, and dramatic 
plays such as playing house, school, etc. are good 
activities for this age group. 

If dder children come to the playground during this time, 
give them equipment for baseball and other high organised 
gimes that will run without the leader. Let these chil¬ 
dren understand that the leader's time is for the 
younger children Checkers, Wari, etc. are also good 
ctivities for the older age group during this period. 

3. From noon until 1:00 P.M.-usually a quiet hour-teach 

etc LeVlht 1 ° f 8 T SUCh as checkers ’ Wari, jacks, 

C. Let the children make posters during this hour 
police the grounds, etc. 




10 



4. Afternoons are the best time for dramatics, handcraft, club 
activities, and other similar programs. A quiet game hour 
is good during this hot period. 

5. Late afternoon is a good time for a low organized game 
period. Here again, since this program requires direct 
leadership, the older group can take care of itself by 
playing baseball, horseshoes, and sidewalk games. 

The leader does not have to devote all his time to a 
baseball game, either to umpire it or to play on one of 
the teams. Such activities run themselves and need only 
occasional supervision. 

6. Early evening is a good period for high organized games of 
the active type. 

7. There should be at least one hour of low organized games 
in the evening program. In planning this program, try to 
include some of the following games: tag, circle singing, 
line, and relays. Give the children a chance to request 
games and allow at least 15 minutes of each period for 
requests. 

8. The last 15 minutes is a good time to have a singing 
program. Gather a group of children in a quiet corner 
of the playground and get them to sing. 

9. Allow about 15 minutes to close the ground. Gather and 
check equipment; take down swings and teeters. Try to 
have everybody leave the grounds when you do. 

SUMMER PLAYGROUND BULLETIN--1940 • 

Summer playgrounds will open on June 17, 1940 and continue until 
August 23, 1940. 


Hours and Days 

First shift workers shall work from 9:00 A.M. to 12:00 noon and from 
5:00 P.M. until 8:30 P.M. 

Second shift workers shall be on the grounds at 12:00 noon and shall 
work until 8:30 P.M. Playgrounds shall be open every day except Saturday 
and Sunday. One hour is allowed for supper. Time must be arranged with 
supervisor. 


11 


PLAYGROUND PICKUPS 


Each playground instructor is required to collect newsy items about 
the happenings on the playgrounds and write them up for the Playground 
Pickup Column that the Cleveland News carries several times weekly. 

Give full names of children (William Smith; not Bud Smith). Also 
include age and full address of each child as well as the name and address 
of the playground. Let the children help in collecting these items and in 
writing them. 

Use the following example form for writing pickups, and use a full 
sheet of paper. Please do not hand in pickups written on the reverse side 
of gum wrappers or oth^r similarly inadequate pieces of paper. 

PICKUP FORM 

Playground_ Date_ 

Worker reporting_ District_ 

S t ory__ 

(Example of a pickup from the summer of 1939) 

"Geraldine Corrigan, 13, of 2247 W. 38 Street proved that * 
she was related to "Wrong-Way Corrigan" by hitting a home 
run at Monroe Fulton Playground and going to third, second, 
and first base." 

Or- 

Winners in the Marion playground horseshoe tournament are 
Robert Strayhorn, 2562 Scovill, and Henry Avercrombie, 

2446 E. 36 Street. 

Stories may be news items of special events held on the playground, 
clever sayings of playground children, or feature stories such as the first 
story printed above. 

Good subjects: News about Safety Council 
Hobby Clubs 
Special programs 

PLAYGROUND PROCEDURES f 

Storage of Equipment 

Except on the playgrounds where there are shelter houses, equipment 
will be stored in garages near the playgrounds. The superintendent will 
have made all agreements for such space before the playground season. The 
instructors will make no other agreements. 


12 








Remember that the neighbor who rents the garage is making a sacrifice 
by allowing the use of the garage. Do not make him regret his kindness by 
allowing children to make nuisances of themselves about the property of 
the garage owner. Only the children whu are helping carry equipment shall 
enter the yard of the garage owner. No children are to be permitted to 
enter the garage. Let the children carry the equipment to the door and stop 
there. We want no reports of stolen or broken materials or of destroyed 
property from any neighbor kind enough to allow the use of his garage for 
storage. 


Playground Program 

Each worker shall make out a forecast sheet, showing plans for the 
coming week, and shall hand one copy to the superintendent. One copy shall 
be posted on the playground bulletin board so that the children will know 
the program for the week. The forecast should show at least two hours of low 
organized activities each day; these include relays, circle games, singing 
games, and stunts. Baseball and horseshoes will be played without much 
help from the playground director. Do not give your time to a game that 
will go on just as well without you; organize other activities. 

Special Events 

A special activity should be included in each week's program. Use the 
same day each week, preferably Friday, so that you can have plenty of time 
to talk to the children about it. (See program sheet.) 

Safety First 

Remember that you are responsible for the safety of all the children. 
Inspect all the links and connections of the swings regularly. If there 
is any question in your mind as to the safety of the swing, remove it and 
keep it off the frame until it has been repaired. Read the section of this 
Manual devoted to the Safety Program carefully. 

Good Sportsmanship 

Impress upon the children the necessity of good sportsmanship and 
rigidly enforce the rules of games. See that the children play fairly and 
according to rules. Teach the children to value fair play above the game. 

Bulletin Board 

Your bulletin board is a good advertisement for your program. Make 
one out of an orange crate and keep it covered with clippings, pictures, 
and bulletins of coming events. Take it in each night. Try to have some¬ 
thing new on the bulletin board every day so that the children will form the 
habit of reading it when they come to the playground. (See also section 
about Bulletin Boards). 


13 


Rainy Days 

On rainy days, workers shall stay on or near the ground until they re¬ 
ceive word from their superintendents that the grounds are to be closed. 


DO NOT CALL CITY HALL. 


Attendance 

In order that we may take attendance as it is being done in other 
cities, the method will be as follows: 

1. Multiply morning peak by 2 to get total morning attendance. 

2. Multiply afternoon peak by 2.5 to get afternoon total. 

3. Multiply evening peak by 1.5 to get evening total. 

Preparation of attendance cards is an important duty of a playground 

worker. They are to be ready to hand in on institute mornings or whenever 
your superintendent designates. It is imperative that these reports be 
prepared neatly and accurately. 


Time Cards 

Time cards are your records of the days you worked. Unless you fill 
these out carefully and turn them in to your superintendent when they are 
due, you may not receive the full pay due you. 

Dress of Instructors 

Girls shall wear simple sports dresses made of cotton materials or 
may wear culottes. They may not wear shorts or slacks. 

Boys shall wear light colored or white slacks and sport shirts. They 
may not appear on the grounds shirtless or in sleeveless gym shirts. 

Special Programs 

Special programs on the playgrounds, such as the Press Junior Olympics 
and the Plain Dealer Pentathlon, are an important part of the playground 
program and should be fully encouraged by the instructor. Complete 
particulars will be furnished by each newspaper conducting these activi¬ 
ties. 


Plain Dealer Bicycle Light Brigade 
Those playgrounds where the superintendent thinks it possible to 
establish a training center for the Bicycle Light Brigade should make every 
effort to cooperate 100 per cent with this program. 

PLAYGROUND NEIGHBORS • 

Even to those of us who firmly believe in the benefits of a playground 
to a neighborhood comes the realization that neighbors close to the grounds 
have many annoyances to endure. Dust, noise, and other similar disturb¬ 
ances, which come as the result of a playground, are understandable to 


14 


reasonable neighbors who comprehend the benefits. However, they find it 
difficult, and rightfully so, to understand why instructors are not more 
careful in their discipline on the playgrounds so as to prevent needless 
destruction of neighboring property. Fences, flowers, gardens, and shrubs 
need not be destroyed even though the playground is a very busy one. 

Face your ball diamonds in such a way that balls will not continually 
be flying into neighbors' yards, or worse, through their windows. Play¬ 
grounds without water are a problem, but do not expect the neighbor to 
furnish water for every thirsty child. Discourage the children rom 
asking the neighbors for water. Remember that the neighbors are also the 
voters and taxpayers. They have much to say about the money spent for 
playgrounds. Make your playground an asset to the neighborhood, not a 
liability. 

BULLETIN BOARDS * 

The bulletin board on your playground is the announcer, and the chil¬ 
dren are the broadcasting system. Keeping the bulletin board neat, 
attractive, and up-to-date is an important duty of every playground leader. 
If there is no bulletin board on your playground, make one of heavy 
cardboard or of wood. The type of wood found on orange crates is ideal. 
Hang it in a conspicuous place on the playground where it is sure to be 
seen. Add something new each day so that children will form the habit of 
going to the bulletin board when they first come on the playground to see 
what new things have been posted. 

Items for the Bulletin Board: 

1. Your daily program. 

2. Attractive, colorful posters announcing coming events. 

3. Safety rules of the playground. 

4. Clippings and pictures that the children will enjoy. 

5. Gossip section consisting of newsy bits about various 
children on the playground. 

Example: "We see that Johnny Jones is sporting a new 
bicycle. We hope that be remembers all the safety 
rules as be rides around." 

6. Keep your bulletin board clear of old and obsolete 
materials and posters. Also discard those that have outlived 
their attractiveness. 

Note: Have poster contests among children. Give them the facts about a 
certain event and let them make the posters for the bulletin. Let 
the child sign his work so that everyone will know whose poster is 
on display. 


15 


Accident Report Facsimile 


REPORT OF INJURY 

OCCURRING ON CITY OF CLEVELAND PLAYGROUNDS 

NAME_ _ DATE-- 

ADDRESS__ PLAYGROUND_ 

Date of Accident Exact time of Accident Date Repurted to Office 

A.M. P.M. 


NATURE OF INJURY__ 

CAUSE OF INJURY IN DETAIL 


BLAME, IF ANY_ 

WHERE TAKEN (HOSPITAL, HOME, OR DOCTOR)_ 

NAME OF DOCTOR_NAME OF HOSPITAL_ 

ACTION TAKEN TO PREVENT REOCCURRENCE OF ACCIDENT_ 

EYEWITNESSES ADDRESSES 


TO BE FILLED OUT 
IN CASE OF INJURY TO EMPLOYEES 

FORM WC*I SENT TO MR._ 

DOCTOR_NOTIFIED 

(Doctor in charge of industrial cases) 

ADDITIONAL REMARKS: 


16 


























IIHfiXIHI 


Chapter II 
SAFETY PROGRAM 


Playground Safety Procedure 

Safety Meetings 

Accident Reports 

Safety Factors 

Accident Report Facsimile 


"He is safe from danger who 
is on guard, even when 
safe." 

Publiliers Syrus, Sentential 


17 


PLAYGROUND SAFETY PROCEDURE 


Because we believe that many of the accidents occurring on the play* 
grounds can be prevented through the exercise of certain precautions and 
through the education of the children by means of safety projects and safety 
councils, a committee composed of representatives from all the recreational 
agencies in the county has been formed. Playgrounds, whose records show 
that all precautions have been observed, will be rewarded with certificates. 

I. Each playground shall have a safety council composed of: 

A. Captain to be selected by the leader for a probationary 
period of two weeks. Merit shall be the determining factor 
from then on. 

Duties: The captain shall preside at meetings and 
check the efficiency of squads. 

B. First Lieutenant: 

Duties: The lieutenant shall preside at meetings in 

the absence of the captain and shall also act 
as secretary. 

C. Cadets are to be divided into squads numbering not more 
than 18 children. 

1. Traffic Squad shall aid children in crossing 
streets properly and safely. 

2. Apparatus Squad shall see to it that apparatus is 
safely used and that children remain outside of 
the safety lines. 

3. Marking Squad shall mark safety lines around the 
apparatus. 

4. Clean-up Squad shall police the grounds to remove 
glass, sharp stones, sticks, tin cans, and other 
hazards. 

5. Equipment Squad shall put up apparatus. 

6. Accident Reporting Squad shall report all accidents 
immediately. 

7. Play Leaders are in effect junior leaders who help 
the playground leader by conducting games and 
assisting in many ways. 

SAFETY MEETINGS 9 

Regular weekly meetings should be held under the supervision of one of 
the play leaders. 


18 


Suggested Topics for Discussion at Meetings of the Safety Council: 

1. General organization. 

2. Duties of the officers and the various squads. 

3. Accidents of the previous week. Ways and means to prevent 
the occurrence of similar accidents. 

4. First aid to prevent infection of cuts and abrasions (see 
First Aid Rules). 

5. Safety rules for baseball, horseshoe pitching, track and field 
events. 

6. Bicycle safety. 

7. Special events, shows, contests, tournaments, festivals, con¬ 
certs, Fourth of July program (no fireworks). 

8. Safety awards, based on least number of accidents as well as 
quality of safety programs in the district, for a given week. 

9. Special award for the best record during the entire season. 

ACCIDENT REPORTS # 

All accidents, however minor they may seem, shall be reported on the 
type of form reproduced on page 16. You will find accident reports in your 
folder. Two copies shall be made, one for the law department and one for 
the Recreation Division office. If the accident is serious, call the 
office (Ma. 4600, ext.225) and report it to Miss Mulac as soon as you are 
free to do so. If the accident results in only a minor injury, the report 
may be banded to the superintendent during his next visit to the playground 
and no call made to the office. In any case, an accident report must be 
filled out in duplicate and given to the superintendent. 

SAFETY FACTORS # 

For First Aid instructions consult the booklet in your folder. 

It has long been known that good supervision and proper safety organi¬ 
zation is the best precaution against accidents. The director is responsible 
for the safety of the children. 

The following suggestions, if properly followed, will make your 
playground safe. 

1. Assignment of traffic guards to protect the children while 
coming to and leaving the playground (subject to traffic 
conditions). 

2. a. Location of play areas and apparatus with a regard for 

children of different age groups, 
b. Location of baseball diamonds with a regard for the 
small children. 

3. Daily inspection of apparatus and the removal of defective 
apparatus. 


19 


4. a. By teaching the proper use of the various apparatus, 

b. By teaching the proper use of the handcraft tools. 

5. Checking of the condition of the grounds (free from stone, 
glass, and other debris). 

6. a. Marking of play courts with a line for neater appearance 

as well as to indicate a safe place for that particular 

activity. 

b. Boundary lines or safety zones should be marked around 
the various apparatus. 

7. Prohibit the riding of bicycles on the playground. Parking 
racks or areas should be made available if necessary. 




Chapter III 

DRAMA AND STORYTELLING 


Quotations 

Outline for Organization of Dramatic Activity 
Director or Leader 
Production 
Rehearsals 
Performance 
Bibliography 
Suggested List of Plays 

Outline for Organization of Storytelling Club 
Story Selection 
Telling the Story 
Suggested List of Stories 
Bibliography 

Hints for Staging Dramatic Skits 

Safety Play 

Playgrounds Drama Festival 




21 



DRAMA AND STORYTELLING 


Quotations 


"Now, little people, sweet and true, 

I find a lesson here for you 
Writ in the floweret's bell of blue: 
The patient child whose watchful eye 
Strives after all things pure and high, 
Shall take their image by and by". 

McGuffey's Fifth Reader 


"The stage but echoes back the public voice; 

The drama's laws, the drama's patrons give, 

For we that live to please, must please to live". 

Samuel Johnson, Prologue 


"But we of the stage, when our sketches are shown, 
Have used neither brushes nor pen, 

The pictures we paint are the largest of all, 

The stories we tell are most true 

We carve them in life, when we answer their call, 

Ourselves we give freely to you". 

Minerva Swigert The Three Arts 


"In other things the knowing artist may 
Judge better than the people, but a play, 
(Made for delight, and for us, other use) 

If you approve it not, has no excuse. 

Edmund Waller The Maid's Tragedy 


OUTLINE FOR ORGANIZATION OF DRAMATIC ACTIVITY • 

A. Leader or Director 

I. One member of playground staff should be selected early in 
season to take over the direction of playground plays. 

a. This member (we shall henceforth call director) shall be 
authorized to call upon other members of the playground 
staff for assistance. 


22 


b. Director must have qualities necessary to produce a play 
with children of the playgrounds. 

1. Interest. 

2. Proper approach. 

3. Imagination. 

4. Knowledge of discipline control. 

II. Organize a club 

a. Allow children to select officers. 

b. Ask children to contribute appropriate names. 

c. Suggest selection of an emblem. 

d. Select a quiet, shady spot to be used every day. 

e. Divide groups according to age. 

1. A junior dramatic club. 

2. A senior dramatic club. 

f. Encourage the use of scrapbooks. 

1. Allow to develop along the lines of a future 
contest possibility. 

g. Use the bulletin board frequently. 

B. Producing the playground play 

I. The selection of the play 

a. Story hour may be the nucleus for a play. 

1. An adapted story (which children have assisted 
in preparing). 

b. Play should be short and simple; avoid the elaborate. 

1. Dramatic skits, pantomimes; formal and informal 
plays may last from 15 to 35 minutes. 

c. Plays may be chosen from 

1. Folk tales. 

2. Realistic stories or plays. 

3. Patriotic stories or plays. 

4. Myths, legends, and folklore. 

d. There are many good literary pieces from which to 
choose; avoid "trashy" and "gory" stories. 

e. Keep in mind the age-range of your group, the interests 
of this age-range, etc. 

II. Analyzing the chosen play. 

a. Discuss the play after it has been read. 

b. Re-read the play allowing children to shift into various 
parts (do not attempt to cast yet). 

c. Discuss thoroughly with children participating. 

1. Setting of play: time and place. 

2. Mood to be established: atmosphere. 

3. Plot should be clear to all: idea, purpose. 

III. Casting 

a. Allow children to tryout for various parts. 

1. Do not force a child to take a part. 


23 


b. Do not force any child into the cast. 

1. However, encourage the timid child to participate 
in costuming, scenery-making, etc. until he has 
overcome his shyness. 

c. Consider the following points in casting. 

1. Diction. 

2. Physical characteristics. 

3. Dependability. 

d. Recall various talents which were displayed during the 
pantomime sessions. 

1. Do not overwork the naturally talented youngster. 

2. Attempt to develop others who are also willing. 

(a) By casting them in supporting roles with 
longer and more difficult parts in each 
succeeding play. 

3. Emphasize the importance of supporting roles. 

(a) Avoid using terms such as "leads". 

e. Hold a serious discussion on-- 

1. Individual characteristics of each character in 
play. 

2. Importance of learning lines promptly. 

3. Review club rules for-- 

(a) Behavior during rehearsals. 

(b) Promptness. 

(c) Cooperation; group and director. 

(d) Offstage behavior. 

4. Stress the "fun" of "putting on a "play". 

IV. Appointing assistants in production or the "play staff." 

a. "A job for everyone--and everyone at his job" is a good 
motto to follow. 

1. All children like to feel useful in the dramatic 
club; therefore it is important to give all members, 
not cast in the play, one of the following tasks. 

(a) Scenery painter or builder. 

(b) Costume designer or sewer. 

(c) Poster and publicity (perhaps a committee). 

(d) Prompter or bookholder (stress impor¬ 
tance). 

(e) Property man--hand and stage props. 

V. Preliminary rehearsals (allow about two meetings of the club for 
the following). 

a. Distribute scripts with instructions to study at home. 

b. Scripts to be brought to every rehearsal (with pencils). 

c. Discussion (informal) of business of the play. 


24 


1. Stage movement of individual characters. 

2. Floor plan worked out before stage rehearsal. 

3. Explanation of stage directions (use legitimate 
stage term). 

4. Position of stage properties. 

5. Tempo or pace of play. 

d. Continue to stress fact that all parts are as yet tentative; 
it may be necessary to shift parts during first or second 
rehearsal. 

VI. Stage Rehearsals 1, 2, and 3 

a. Length of time will be determined by type of play and 
children in the cast. 

1. All lines should be memorized before the second 
rehearsal. (Stress following at all rehearsals) 

(a) Use of the tip of the tongue, lips, and 
the teeth. 

(b) Voice and good diction. 

2. All movement on stage should be direct. 

3. All stage business should be learned with the lines. 

4. Stress constant use of pencil as directions are 
given. 

5. If the real hand prop is not there always allow for 
it by the handlirg of imaginary props. 

6. Stress meaning and characterization of lines. 

7. Strive for pictorial effect. 

8. Do not interrupt scenes too often. 

9. Allow short relaxation periods. 

VII. Stage Rehearsals 4, 5, 6, and others if necessary 

a. Inject vitality and change in club group by holding a short 
rehearsal about this time followed by a social mixer or a 
group of prepared games. 

1. It might be well to revive some old pantomimes and 
charades. 

b. Begin to polish performances. 

1. Polish stage groupings. 

2. Have all "mob scenes" and "group scenes" attend all 
rehearsals. 

(a) Rehearse their scenes first and either 

send them home or give them definite pro¬ 
duction jobs. 

3. Rehearse early with costumes. 

4. Rehearse early with stage curtain. 

5. Begin to mold performance for*- 

(a) Timing. 

(b) Climax. 

(c) Teamwork. 


25 


6. Hold dress rehearsal a day or preferably two 
days before performance. 

(a) With all costumes. 

(b) With all of cast. 

(c) With production staff. 

(d) With make-up. 

(e) With properties (stage and hand). 

(f) Without interruptions. 

VIII. At performance. 

a. Director observes closely. 

1. Audience reactions. 

2. Conduct of children in club. 

(a) Actors on stage. 

(b) Actors off stage. 

(c) Production staff. 

(d) Ushers. 

IX. After performance. 

a. Director loses no time in discussing all observations 
made at performance. 

b. It is advisable to hold parties at the next rehearsal 
rather than on the night of the play. 

C. Miscellaneous suggestions. 

I. Do not force all children in club to be in production. By 
all means strive to encourage a natural desire to participate 
in the play. 

II. Make-up is not entirely necessary. When used do not overdo it. 

III. Do not allow children to sit in idleness watching rehearsals. 

IV. For the first play, use the simple one-act play or simple 
adapted story which takes less time and effort. Otherwise, 
too elaborate an attempt for the first time may result in 
discouragement for future productions. 

V. Costumes on the playgrounds are always best when simple. The 
outdoor stage is a difficult place to produce an elaborate 
play. 

VI. Keep an accurate attendance chart. This may be kept by one 
of the children. 

VII. Encourage children to share in the work to be done before and 
after production and rehearsal. This includes moving scenery 
and the clearing and storing of stage and hand properties. 

VIII. Stress the importance of all minor parts. A short, small 

"bit" part if done well (not over-acting) may become the best 
part of the performance. 

IX. Stress the childishness of peeking out from behind the curtain 
on the night or day of performance. 

X. Do not allow children in cast to visit with audience either 
before or between scenes of the play. 


26 


XI. Do not allow parents or friends backstage before or during the 
play. 

D. Suggested Bibliography on 

I. ACTING 

a. Dramatics for School and Community; Wise, Claude. 

b. Stage and School; Ommanney, Katharine Anne 

c. Problems of the Actor; Calvert, Lewis. 

II. PANTOMIME 

a. Pantomime for Stage and Study; Pardoe, T. 

b. The Art of Pantomime; Aubert, Chas. 

III. PLAY PRODUCTION 

a. Creative Drama in the Lower Schbol; Brown, C. 

b. The Art of Play Production; Dolman, John 

c. How to Produce Children's Plays; Mackay, C. 

d. Children's Theatres and Plays; Mackay, C. 

IV. COSTUMING 

a. Costuming a Play; Brimball and Wells. 

b. Stage and School; Ommanney, Katharine Anne 

c. Costumes and Scenery for Amateurs; Mackay, C. 

E. A Suggested List of Plays. 

I. Eight Plays for Children; Fyleman. 

II. Short Plays for Young Folks; Jagendorf. 

III. Six Fairy Plays for Children; Syrett, N. 

IV. Five Plays and Pantomimes; Baldwin, S. 

V. Ten Minutes by the Clock; Riley, A. 

VI. The following folk tales highly recommended for adaptation-- 

a. Snow White and Rose Red. 

b. Pinnocchio. 

c. The Enchanted Garden. 

d. Cinderella. 

e. Rumplestiltzkin, 

f. Hansel and Gretel. 

g. Scenes from Robin Hood. 

h. Captain Kidd Stories. 

i. Circus Stories 

OUTLINE FOR ORGANIZATION OF STORYTELLING CLUB • 

A. Organize a club. 

I. Allow children to select a name. 

II. Build a bulletin board and keep it up to date with club activi¬ 
ties (this may be shared with the dramatic club). 

III. Allow children to select a secretary to take attendance and a 
president if they wish. 

IV. Conduct meetings at the same time and same place every day. 


27 


a. It is important that you select a quiet, shady spot 
away from active games. 

V. During the season, develop as many good story tellers as you 
can. However, be careful not to bore the rest of the group. 

VI. Have the children prepare their stories, and sometime during 
the week have them tell the story to you first. 

VII. One story hour a week may be conducted by the children them¬ 
selves. 

VIII. A "Story Club Chart" may be made by members of the club. 

B. Selection of Stories. 

I. Three stories for one period (depending upon length) are 
usually enough. 

a. The story hour should not exceed one hour. 

b. Each story may be ten to twenty minutes in length. 

c. If the children in the story circle show any signs 
of restlessness, cut the length of the story hour. 

II. When selecting stories, consider-- 

a. The age-range of the group, for example: 

1. Little children: 5 to 8 years. 

(a) Repetitive stories. 

(b) Nursery rhymes. 

(c) Simple verses. 

(d) Folk tales, legends, myths. 

(e) Picture books. 

b. The Cleveland Public Library's Carrol and Stevenson 
rooms have story lists available. 

c. Stories should be fitted to the type and experience 
of the group. 

III. Use variety in selection. 

a. Make definite contrasts in type of stories for one day. 
Example: fairy tales, adventure, and hero tales. 

b. Use one long story; one short; one serious; one 
humorous; one deep; one light; etc. 

IV. Children should be encouraged to ask for favorites. "Great 
stories, like great music, should be heard often." 

C. Telling the Story. 

I. Make sure your group is comfortably seated--a semi-circle is 
preferable. 

II. Before beginning a story at the opening of the period, try 
starting the group off with a quiet game until they have 
settled down. 

III. Make sure you have caught the mood and rhythm of the story 

before you tell it. Children are quick to sense any "coldness" 
on your part. 


28 


a. Avoid loudness, a well-modulated voice is important. 

b. Be careful of diction and enunciation. 

c. When reading, watch your pace; do not keep eyes 
"glued" on page. 

d. Use a fair amount of contrast; such as an increase of 
speed during the exciting portions of the story, a 
slight change of voice here and there. 

e. Use of the eyes and facial expression is important. 
However, do not over-emphasize; suggest rather than 
imitate. 

f. Show your enjoyment of the story; tell it with 
enthusiasm and your voice will do the rest. 

g. Avoid "fussing" and "playing" with a pencil or any 
other article you might have in your hands; this dis¬ 
tracts from the story. 

h. If necessary, you may enlarge or condense the story. 
However, be cautious in any adapting. 

i. Do not over-emphasize the moral of a story; the 
children will surely realize it. 

j. Do not allow interruptions. Explain before the period 
that all questions and discussions must take place 
after the story hour. 

k. Begin a well-known story without announcing the title. 

l. Memorize idioms, phrases, conversational parts when 
necessary. 

IV. After the story has been told, encourage questions and 
discussions. 

a. For example: 

"Why did John decide to seek his fortune?" 

"What would you have done with the treasure?" 

b. These questions can lead to attempts at dramatizing 
the various characters; in this manner the nucleus for 
your play is formed in the dramatics club. 

D. Variations. 

I. Playing the story after it has been told. 

a. Reserve anything elaborate for the dramatics period. 

II. Illustrating the story with a stick on the ground or-- 

a. With paper cutting or tearing as the story progresses. 

b. With crayon drawings or water colors already made. 

III. Reading or telling a continued story once or twice a week. 

(Post a notice on the bulletin board with perhaps an illus¬ 
tration or drawing). 

IV. A story telling contest may be encouraged. 

V. Dramatizing the stories with puppets. 


29 


E. A Suggested list of stories. 

I. Stories of Beowulf; Marshall, H.E. 

II. Heroes of Iceland; French, A. 

III. Grimm’s Fairy Tales 

IV. Aesop's Fables 

V. Quaint Old Stories; Lansing, M. 

VI. Oak-Tree Fairy Book 

VII. East o' the Sun; Thorne-Thomsen 

VIII. Atlantic Treasury of Childhood Stories; Hodgkins 

IX. Where the Wind Blows; Pyle 

X. Fairy Tales; Anderson 

XI. Jungle Book; Kipling 

XII. Book of King Arthur; MacLeod 

XIII, Peter Pan or Peter and Wendy; Barrie 

XIV. Any of the following types are recommended-- 

a. Patriotic. 

b. Nationality. 

c. Realistic. 

d. Adventure. 

e. Hero. 

f. Historic 

g. Tales 

F. Suggested Books on the technique for storytelling. 

I. The Art of the Story Teller; Shedlock, M. 

II. How to Tell Stories to Children; Bryant, S.C. 

III. Story Telling; Lyman 

HINTS FOR STAGING SIMPLE DRAMATIC SKITS 0 

Scenery 

Little or no scenery is needed. As in the Elizabethean drama, the 
scenery is largely in the minds of the audience. The audience will always 
like labeled scenery. The labeled members can hold some object or use some 
symbolism in their costume. The "tree” can hold some branches and the 
mountain can hold a stone or place it on his head. 

Properties 

In most cases properties can be symbolic rather than accurate, or they 
can be grossly exaggerated. A large powder puff rather than a small one; a 
sunflower rather than a pansy. 


Curtain 

A curtain is seldom needed. When it is imperative for the success of 
the stunt that a curtain be used, have four people hold two blankets or 
sheets in front and then walk to sides when opening. 


30 


Costumes 

Costumes can be real or "symbolic." Most people will provide enough 
material for many stunts, but the dramatic leader is justified in providing 
some material ahead of time. The following suggestions are from Stunt Night 
Tonight by Catherine Atkinson Miller. 

"Blankets may become: Complete costumes for Indians and many of the 
larger animals such as elephants, camels, lions, bears, horses, etc., cloaks 
for villains in melodrama, and also for witches; court trains for noblemen' 

(if light weight blankets); covering for rocks or bushes to simulate a 
couch or throne; curtains for mysteries; and stage curtains. 

"Sheets may become: Robes for angels, fairies, ghosts, foundation robe 
for men or women in fairy plays, or for ancient or medieval costumes; coats 
or cloaks for Orientals, including people of Palestine; court train or 
bride's train; white elephants or white cats; drapery for furniture; 
curtains. 

"Pillow cases may become: Monks' cowls, head dresses for men and women 
of many periods; shawls; aprons, short cloaks; worn straight, one in back 
and one in front, for heralds, pages, and little princes; stuffed may become 
small white animals--kitten, lamb, etc. 

"Kimonos and Dressing Gowns may become: Robes for all kinds of fairy 
and noble characters--the most adaptable Stunt Night article. A plain 
kimono with sleeves turned up and worn backward becomes a bungalow apron or 
plain house dress. Should be worn backward by most masculine nobles--the 
train hanging from the shoulder, or a cloak will hide fastening. 

"Handkerchiefs, wash-cloths, and towels may become: Headdresses for 
babies, servant girls, pirates, turban-wearing folk; collars of many types; 
neck ruffs for nobles; neck cloths for cow-boys, boy scouts, and gypsies; 
shawls and aprons; bibs; colored handkerchiefs (or white) make flowers to 
wear in the hair or the button hole or over a lady's heart. 

"Nightgowns may become: (With sarong, girdles and scarfs) robes for 
Oriental, fairy, or noble ladies; long dresses for babies; basted to knee 
length, dresses for little girls or tunics for little boys. 

"Pajamas may become: Foundation for numerous masculine costumes, from 
street-cleaners and servants to ship captains; band costume; almost exactly 
right for Chinese coolies; with colored bands of different widths added to 
the coat, can be used for any class Chinese man or woman; coat for Chinese 
man should be almost ankle length, for woman, just a little longer than the 
pajama coat as it is; trousers gathered in at ankle will do for foundation 
of Persian costumes, although gymnasium bloomers, pulled down, are better. 

They can also be used as a foundation for some animal costumes. 

"Knickers may become: Trousers for princes and other nobles, especially 
when tied below knees with beautiful ribbons and glorified by sashes at the 
waist (middy ties are excellent). Particularly good for girls playing men's 
parts as they are less awkward than long trousers. 

"Scarfs, neckties, ribbons: Used in many ways for costume decoration, 
head dresses, etc. 


31 


"Jewels: When worn should be worn profusely. Five and Ten Cent Store 
jewelry is admirable for our purpose. Paper jewelry can be substituted. 

"Paper: Any costume or costume ornament desired can be contrived with 
paper and pins. Crepe paper is especially good. For kings and nobles, fleur 
de lis and other designs can be cut out of paper and pinned to plain robes 
with striking effect. Vivid designs can also be produced quickly by taking 
big stitches with colored yarn." 


SAFETY PLAY 


The Safest Place To Play 

A Playground Pageant prepared 
for the Playgrounds, 

Division of Recreation, 
Department of Public Properties, 
City of Cleveland. 

Summer of 1940 


Stage Setting: Street light, on post of which are hung 2 signs. An arrow 

pointing to the right reads, PUBLIC PLAYGROUND. An arrow 
on the left reads DANGEROUS STREET. SLOW stands near center 
rear of stage. 


Characters: 


Playground: 


Playground (dressed in play clothes). 

Street (dressed in red). 

A Boy and his gang (dressed in simple play clothes). 
Four Playground Helpers. 

1. Play That Is Safe 

2. Play That Is Organized 

3. Play That Is Fun 

4. Play That Is Educational 


(all helpers dressed in 
play clothes with large 
sandwich sign giving the 
helpers name) 


I am Playground, the Children's best friend. My Helpers are 
Play That Is Safe, Play That Is Fun, Play That Is Organized, 
and Play That Is Educational. My worst enemy is Street who 
lures the children from my safe care to the streets where 
they are in constant danger, where play is not organized, 
and where death is a playmate. Oh, here comes Street now. 

He is such a cruel person. How can the children put their 
trust in him? 

(Street swaggers in.) 


Street: 


32 


I am Street, the children's most dangerous playmate; but I 
am popular with children who are too lazy to walk a block to 
a playground, and with those children who like to see how 


Voice: 


Street: 


Master of 
Ceremonies: 


Master of 
Ceremonies: 


^ * 

quickly an automobile can stop. Of course, the machines don't 
always stop. But then, what's a broken arm or a fractured 
skull more or less? There are lots more careless and lazy 
children to take the place of these children who get hurt 
playing with me. I just love to hear the sound of brakes 
screeching and the voices cf children crying with pain. 

(Cackles a cruel laugh.) I love to hear the voice of the 
driver pleading with the police officer. 

(Voice off stage pleading in a bewailing tone.) 

Honestly, officer, I wasn’t going fast, but this kid jumped 
out in the street so quickly I couldn't stop in time. 

(Street stands rubbing his hands, as the voice off stage 
continues.) 

He was chasing a ball and probably never even saw me coming. 

I tried to avoid hitting him, but he ran right in front of me. 

(Leering) Yep, those words are just music in my ears. Whoa, 
here come the kids now. Just watcb me get them to play with 
me. (Street shouts to the Children as they come on the stage. 
Children enter in the center of the rear of the stage*-boys in 
one long line, girls in long line beside the boys. All hold 
hands. Some of the children break from the group to join 
street. The others are led off stage by Playground and the 
Helpers. The boys on the left and the girls on right, Street 
stands still, gathering his group together. He waits until all 
the children have been led off, then exits with his group. 

(His arms around the children.) 

It's fun to play on a playground, and it's a safe place too. 
We'll show you just how much fun it is with activities for 
everybody. 

(Program Begins.) 

(After a few numbers, the program is interrupted by entrance 
of excited group. Street and his group enter on the left and 
exit center back. One child is crying. The others support 
him as he limps across the stage, one arm hanging limp.) 

The playground is the safest spot in the neighborhood to play. 
Stay out of the streets. Just see what else you can do on the 
playgrounds. 


(Program Continues.) 


33 


(After a few numbers, the program is interrupted by the same 
group that entered with the injured boy. Street saunters in 
on the left of the stage. Playground enters on right holding 
one hand on his group of children. The injured boy, who has 
one arm in a sling, head bandaged, and is still limping, 
starts toward playground. He is followed by his group who 
formerly went with Street. Street calls to the group but 
they ignore him. Street then taunts them. The whole group, 
with the exception of the injured boy, start after Street with 
clenched fists and force him off stage. Group re-enters 
dusting off hands and clothes. They follow Playground and 
injured boy who are exiting on the right arm-in-arm. 

(Program Continues Until Final Number) 

CITY PLAYGROUNDS DRAMA FESTIVAL • 


PLAYS 


Rules and Regulations 


Plays shall be non-royalty plays or original adaptations. 


TIME LIMITS 

Maximum time limit--20 minutes. 
Minimum time 1 imit--12 minutes. 


CAST 

Maximum number of players--12 persons. 

Minimum number of players-- 4 persons. 

STAGING 

Drapery shall be the only background used. Various settings shall be 
suggested by the group through the use of properties. 

District Play Offs 


JUDGING 

Each playground shall send its best play team to the Recreation Center 
in the Borough on the dates listed below. The leader who directed the 
play will accompany the group. The first group will be ready to perform 
at 1:30 p.m. 


Central district--August 13 
Clark district--August 14 
P.O.C. district--August 15 


34 


Lincoln district--August 16 
Broadway district--August 16 
Woodland district--August 19 
St. Clair district--August 20, 21 
Finals--August 22, 7:45 P.M.; 

Little Theatre of Public Auditorium 

Schedules shall be made up by the Superintendent so that all groups w 
not arrive at the same time. 

JUDGES 

Judges of the district contests shall be: 

Miss Mulac 
Miss Robb 

Superintendent (or some one whom he shall designate) 

JUDGING OF THE FINALS 

Judges for the finals shall be announced at a later date. There will 
be three judges and a chairman. The three judges will judge independently 
of each other and will hand in score sheets to the chairman who will then 
announce the winners. 

AWARDS 

The awards will be announced later. 

METHODS OF JUDGING 

The judges' scoring sheet should be studied in order to know the 
points upon which a team will be scored: 

1. Choice of play. Does it meet the level of the children 
or is it too difficult or too simple? Is the subject 
matter of the play interesting to the group and to the 
audience? 

2. Direction and teamwork. Does any one actor "hog" the 
stage? Does the entire cast cooperate well? 

3. Movements and pantomime. Is it effective in nature? 

Are actions meaningless or suggestive? 

4. Voice and diction. Do the characters speak clearly and 
enunciate well? Do they make themselves heard? Are 
important words emphasized? Does the child speak his 
lines or recite them? 

5. Make-up and costumes. Deals with ingeniousness of costumes 
and make-up. Costumes need not be elaborate. They may 
merely suggest, but they should so do effectively. 


6. General effect on audience. Are there good reactions? Does 
the audience laugh at the proper times? Do they appear to 
enjoy the play? Are they bored with it? 

Each item will be rated on a 1 to 7 point scale: 1 being inferior 
and 7 being superior. 

GENERAL HINTS 


1. Stay within the general rules of the contest so that your 
team will not lose too many points on technical handling 
--poor choice of play, too few players, etc. 

2. Costumes at City Hall are available for use by the play 
casts. They may be altered or not, according to the needs 
of the play. 

3. Enlist the interest of the parents. They will be glad to 
help in many ways. 

4. Stress the fun angle of dramatics and not the win angle of 
the contest. We want the children to enjoy being in the 
contest. 


36 


Chapter IV 

FEATURES, CONTESTS, 
HOBBY SHOWS, HUNTS 


Hobby Shows 

Hobby Clubs 

Playground Picnic 

Rules for Song Contests 

Progressive Play Day Program 

Feature Parade 

Treasure Hunts 


Scavenger Hunts 





HOBBY SHOW 


The Hobby Show shall be the last playground feature of the year. All 
playgrounds will, have their shows on the same day throughout the city. This 
will be a day advertised as Hobby Day. 

How to conduct your Hobby Show: 

1. Advertise it throughout the neighborhood by poster and parade. 

2. Get a number of parents and interested persons in the neighbor¬ 
hood to act as judges. 

3. Prepare award ribbons. 

4. Arrange some sort of table or series of tables for the proper 
exhibit of all displays. Arrange the exhibits attractively 
and with good taste. 

5. Suggested Exhibit Divisions-- 

a. Handcrafts. 

b. Collections (Stamps, pictures, scrapbooks, match 
covers, shells, etc.). 

c. Models (Airplanes, boats, houses, etc.). 

d. Mechanical and Technical (Home made motors, radios, 
etc.). 

e. Miscellaneous. 

6. Be sure that each exhibit is properly labeled. 

7. See to it that all tables are well guarded so that articles 
don't "walk away." 

8. Divide the exhibition into two classifications; 12 years of age 
and under, and over 12 years of age. 

9. Judge on the following: 

a. Most attractive hobby exhibit, 

b. Neatest exhibit. 

c. Most unusual hobby. 

d. Originality in workmanship. 

HOBBY CLUBS 


A hobby club on your grounds will not only encourage the child who 
already has a hobby but will help the child who has not yet found one. Have 
regular meetings of the club, and encourage exchanges among those children 
who are following the same hobby. Start a collection of some sort for the 
common project. The group may be encouraged to bring different kinds of 
match covers which they may present for mounting in the playground hobby 
scrap book. Each child may be required to give a little speech about the 
kind of industry advertised on the match cover. For example, the cover may 
advertise Spearmint gum. The child must tell a little about the gum indus¬ 
try, when and where it started, what chewing gum is made of and how to 
dispose of gum so that it will not be a source of annoyance to other persons. 




38 


The match covers may be mounted on a large board or in a scrap book 
according to color, type of product advertised, or the location from which 
they came. Hotel covers would be of the latter type. Clean covers, of 
course, would be the only type mounted and duplicates may be saved for the 
children who are collecting the same item. 

Other possibilities for group projects would be: 

1. Clippings of things to make taken from the children's page, 
home-making magazines, funny books, etc. 

2. Clippings of games to make and play, puzzles, and simple magic 
tricks. 

3. Pictures of dogs, trains, boats, etc. 

4. Clippings of children injured through their own carelessness. 
(Group might discuss ways the accident could have been 
prevented.) 

5. Clippings relating to a particular sport, etc. 

This hobby program might very easily become one of the most interesting 
and important parts of your playground program. Since many of the play¬ 
grounds are limited in facilities for handcraft, and other similiar 
activities, the hobby program may very well fill in that part of the program. 

Help the child on your playground find a hobby that he will enjoy, and 
you are giving him something that will be a source of pleasure to him for 
years to come. Put into your playground program those activities that will 
have value to the child long after the playground is closed for the season. 
The hobby club is just such an activity. 

"It is an old rule that to be interesting, one must be interested." 

The special skill or knowledge which comes from pursuing a hobby makes you 
more entertaining to others, and vastly more interesting to yourself; gives 
you something to show, to talk about to your friends, as well as something 
to do in your spare time," says Ernest E. Calkins. 

% 

An excellent bibliography of hobby books: 

The Care and Feeding of Hobby Horses, Ernest E. Calkins 

Compton's Encyclopedia, (Section on Hobbies written by Anne Carroll 

Moore). 

As has already been explained one of the most valuable services any 
playground leader may perform for the playground child is to help him find 
a hobby or further develop his hobby if he has already chosen one. However, 
this should be a true hobby. Ernest E. Calkins explains: "Hobby is what 
you do because you want to and 'fad' is what you do because other people 

do it." Whatever you do with that spare time of yours, it should be 

something that gives you keen delight. If it dosen't, then it is not a 
hobby---at least for you. You have guessed wrong and should begin all over 
again. 

If the leader can help the child to find a hobby that suits him, he has 
helped the child to find something that may be a source of pleasure all his 
life. The true hobby is one that improves in interest and value as the 


39 



individual grows. 

Calkins also says, "Don't worry about special aptitude or training 
necessary to follow a hobby; such aptitude is more common than you would 
think, and the training is easily acquired. You train yourself. The train¬ 
ing is part of the fun; the only necessity is that you like doing it well 
enough to have patience with details." 

Hobbies group themselves into four classifications: 

1. Doing things (walking, bicycling, singing, etc.) 

2. Making things (painting, modelling airplanes, making objects 
of wood, iron, metal, paper, etc.) 

3. Acquiring things (Stamp collections, nature collections, 
butterfly collections, and the collecting of items relating 
to particular subjects and mounting them in scrap books. 

4. Learning things (Study of stars, botany, fish, etc.) 

For the children on your playground you might suggest the following 
hobbies, and after the child has selected the one that interests him help 
him in getting started. 

THINGS TO DO 

1. Hiking around the nature trails in Metropolitan Parks. 

2. Mastering the art of cooking outdoors. 

3. Visiting places of interest around Cleveland. 

4. Telling fortunes with cards, palms, or tea leaves. 

5. Playing chess, checkers, or other interesting folk games. 

. 6. Tumbling. 

7. Tap dancing. 

8. Swimming,* etc. 

9. Raising rabbits, guppies, guinea pigs, etc. 

MAKING THINGS AT HOME 

1. Model Airplanes. 

2. Marionettes or puppets. 

3. Bird houses. 

4. Model boats, houses, coaches, etc. 

5. Ancient and interesting games. 

6. Scrap books. 

7. Writing poetry, stories, or playlets. 

8. Making musical instruments such as Indian rattles, shepherds pipes, 
drums, tom-toms, etc. 

9. Soap or stone carving. 

10. Painting, crayoning, watercolors. 

THINGS TO ACQUIRE AND COLLECT 

1. Pictures of boats, fine horses, baseball players, trains, etc. 

2. Stamps. 

3. Postmarks of cities and towns with interesting or humorous names. 

4 . Match covers. 

5. Pennies of various dates. 


40 


6. Quilt patterns or hooked rug patterns. 

7. Recipes of all kinds or just of particular types of food such as 
cookies, puddings, etc. 

8. Odd shaped buttons. 

9. Leaves, butterflies, seed pods, beetles, fossils, insects. 

10. Pretty stones or ones of unusual shape. 

11. Pretty shells. 

12. Nationality dolls. 

13. Miniatures of one particular type such as dogs and cats, or all 
things of a particular size. 

14. Tax stamps of various denominations. 

15. Trademarks. 

16. Silhouettes. 

17. Maps of all kinds. 

18. Folk song collections. 

THINGS TO LEARN 

1. Study of the stars. 

2. Study of superstitions--how they began, etc. 

3. Study of types of architecture. 

4. Study of plants, etc. 

5. Study of simple animal life. 

6. Study of birds--learning to recognize birds by sight and song. 

PLAYGROUND PICNIC # 

The playground picnic feature can be conducted on the playground with 
considerable success if the proper preparations are made. The program may 
also include the parents for the supper hour activities. Of course, they 
will be asked to bring their own food. 

Organize a picnic committee to visit and invite the neighbors. Friendly 
storekeepers may donate food or prizes. End the program with a weiner or 
marshmallow roast. 

Suggested games for the picnic program. 

1. A candy-kiss or peanut scramble. 

2. Walk Down Stairs (Bend knees and hold heels; then walk). 

3. Bite Test (Run to line; pick up paper napkin with teeth; run 

back to finish line). 

4. Windbag (Run to line; pick up and blow up #5 paper bag; break 
it; run back). 

5. Sore Toe Race (Hold one foot with hand and hop to finish line). 

6. Marshmallow-in-Bag (Like windbag. Eat candy first). 

7. Blow and Kick (Blow up bag; tie it; kick it to finish line). 

8. Knee Lock (Use a wand; hold it under knees and over elbows). 

9. Kangaroo Race (Hold something between feet or knees and race 
to finish line). 

10. Target Throw (Use bean bags to down woodblocks). 


41 


11. Tandem Race (Cut old inner-tube into bands. Ankle two people 
into one band). 

12. Dizzy-Izzy (Run around wand six times; then run to line). 

13. Chef Boxing (Wear paper bag on head. Partners try to get 
bag off each other's heads. Hold one hand behind back. Use 
paper rolled to knock hats off). 

14. 100 yd. Chew (Have strings 1 yd. long; chew before running to 
line). 

15. Thread the Needle (Boys run to line; get into inner tube band; 
hobble to finish). 

16. Snapper Race (Have marshmallows on string; chew up string and 
get candy). 

17. Shoe Straps (Place inner tube bands on each foot. Hold hands; 
race to line). 

18. Funny.Face (Boy holds card in snout--between nose and upper 
lip--passes it to girl). 

19. Ring-the-Bell (Girl blows up paper bag. Boy stands at other 
line. Girl runs to boy; breaks bag over his head; runs back 
to line). 

20. Hot Potato (Pass bean bag or ball in circle quickly. Leader 
blows whistle and one who holds bag or ball is out). 

21. Squat Throw (Hurl a ball with hands between your legs). 

22. Discus Throw (Use a paper plate). 

23. Paul Revere (Three men on team, two big and one little. 

Little man climbs on back of big man who runs him down to 
No. 2 big man who takes him back to the finish line). 

24. Four Legged Race (Three people on team. Ankles tied so four 
legs are running). 

RULES FOR SONG CONTESTS 9 

1. Any child on the playground is eligible. 

2. Words and music may or may not be original. 

3. The music must be within the range of children's voices and the 

words within their understanding. Songs must be easy to hear, 
should have a catchy melody, and must not be too long. 

4. The winning song will be featured at the district festival. The 

songs will be sung either by the one entering the song or by 

others chosen to sing it. The song may be a solo, a duet, a 
quartette, or a chorus. 

5. Deadline for entries--July 26, 1940. 

6. One copy of the song must be on file at the Recreation office and 
another with the Borough Superintendent. If music is not original, 
only the name of the tune and the words to be sung need be given. 

If the music is original, music must accompany words. 


42 


PROGRESSIVE PLAY DAY PROGRAM 


Play Day will be run in progressive style with teams of ten players. 

A playground may enter more than one team. Ages of the children will vary 
from 10 to 16 years. 

The games will be skill-games with enough different games so that each 
team entered will play every minute of the time. They will move from game 
to game until each team has played every game once. A director or play 
leader will accompany each team and score it as the team goes from game to 
game. The director will not score his own team. 

General Rales 

No team will be permitted to begin until the starting whistle has been 
blown. From the time the whistle blows until the stop signal is given, 
each team will continue to play; each player will take as many turns as the 
time allows. At the stop signal, the team stops play immediately whether 
each player has had an equal number of turns or not. The director adds up 
the score to get the total that the team has made and then moves on to the 
next game. No play is made until the starting whistle is blown. 

Individual scores will be totaled to determine the high boy scorer 
and the high girl scorer. 

The time will be five minutes to play; one minute to add up scores and 
move to next game. 

When a player has had his turn, he moves to the end of the line in 
rotary fashion. 

Organization 

1. Teams shall number from 5 to 10 players. An attempt shall be made 
to keep the teams equal in number of players. 

2. There shall be a different game for every team entered so that all 
teams are playing all the time. (Note: If teams are registered 
before the program starts, the leader will know the number of 
games needed). 

3. A volunteer leader shall be appointed to stay with each team and 
keep the score on a card provided by the leader. 


43 


SAMPLE CARD 


Score 

Game No. 
NAMES 

1 2 3 4 5 

Mary 

100 50 

Jane 

50 

Rose 

00 

John 

100 


4. Each team shall play game five minutes, or more if the leader 
desires, and shall start to play at the whistle signal and continue to play 
until the signal to stop and move on is given. The players take their 
turns and retire to the end of the line in rotary fashion, taking as many 
turns as they can get in the time allowed. When the stop signal is given 
the team shall be allowed one minute to add up scores and proceed to the 
next game. 

5. Each game shall be clearly numbered, and numbers shall follow in 
numerical order so that no time will be lost by the teams in moving from 
one game to another. (Note: If the leader sets up the games first and 
then numbers them, there should be no problem). 

6. All boundaries shall be clearly marked, and leaders shall insist 
that players honor these boundaries. 

Game Events 


BASEBALL. 

Each player pitches in underhand fashion attempting to put each ball 
through a hoop suspended between two wands. The hoop represents the strike 
area in soft ball. For each successful "strike" 25 points are scored. 

BEAN BAG BALANCE 

Each player walks to a point 40 feet distant and back to his place 
while balancing a bean bag on his forehead; both hands must be kept behind 
his back. If the bean bag falls the turn is over and no points scored. If 
the player successfully makes the round trip, 25 points are scored. 


44 








SOCCER 

Attempt to kick a play ball between two blocks four feet apart from a 
distance of 20 feet. Each successful try rates 25 points. 

HORSESHOES 

A peg is driven into the ground about 15 feet from the starting line. 
Each player takes turns in trying to throw the hoops over the stake to make 
a "ringer." Score: 1 point for each "ringer." 

POLO 

Riding a wand, hobby-horse fashion, a player runs from the starting 
line 15 feet away to a croquet wicket, hitting a croquet ball with a mallet 
as he runs and trying to make a "goal" as he approaches the wicket. Only 
one trial to a turn. Score: 1 point for every "goal". 

VOLLEYBALL 

Using a good sized rubber ball, the player tries to keep it in the air 
by hitting it upward continuously. Score one point for each time he 
manages to hit it upward over his bead without moving his feet and without 
letting the ball touch the ground. 

STEEPLECHASE RIDING 

The player attempts to roll a hoop from the starting line up to a stake 
ten feet away, around the stake, and back to the line, in one continuous 
roll. Score: 25 points for each "ride" around the course without a "fall". 

CURLING 

Player attempts to roll a hard baseball from the starting line in such 
a way that his ball hits a block standing about 15 feet away. Score: 25 
points for every successful try. 

GOLF 

Players attempt to "putt" a baseball into a hole dug in the ground 10 
feet from the starting line with a soft ball bat. Score: 25 points for 
every successfull putt. One trial constitutes a turn. 

BOWLING 

From a distance of fifteen feet, players try to bowl two softballs into 
a hoop lying on the ground. Score: 25 points for every "strike". 

BEAN BAG-BASEBALL 

Four indian clubs or blocks are placed one beside the other on a line 
20 feet away from the starting line. Each player takes a turn at throw¬ 
ing four bean bags in an attempt to knock the clubs or blocks down. 

Score: 25 points for each hit. 


45 


Track and Field 


DISCUS THROW 

Suspend a hoop at a distance of four or five feet from the ground. 
Players take turns throwing two heavy paper plates through the hoop from a 
distance of ten or fifteen feet. Score: 1 point for each successful try. 

STANDING BROAD JUMP 

Each player makes a standing broad jump from the point the last player 
left off so that all ten member's jumps are added together. Each player of 
the team will receive 1 point for each foot jumped. (Thus, a member of a 
team who has jumped 69 feet will get 69 points for that particular game.) 

BEAN BAG THROW (OVERHEAD) 

Each girl on the team will hold the bean bag in both hands over her 
head and throw from that position, keeping both feet on the ground through¬ 
out the throw. Each boy will squat and throw the bean bag through his legs 
while remaining in that position, the throw being a foreward not a backward. 
The total distance thrown by the team will be the score. Each member's 
acore will be reckoned at a point a foot. 

FEATURE PARADE f 

Even a good product has to be advertised; and that is the purpose of 
the playground parade, to advertise to the neighboring community that the 
playground is open for the business of play. 

Factors included in a good parade are: 

1. Large numbers of children--in costume if possible. (A contest 
might be held on the playground before the parade starts to 
choose the most ingenious costume, funniest, etc.) 

2. Decorated vehicles of all kinds--wagons, scooters, tricycles, 
doll buggies, etc. 

3. Readable signs with slogans about activities on the grounds, 
name of the playground, and invitations to children to visit 
the playground. 

4. Noise makers to attract the attention of residents to the 
parade. The children might sing as they march around. 

5. Safety' precautions. If a street must be crossed during the 
course of the parade, the instructor should direct the group 
in order to insure a safe crossing. 


46 



6. Good organization. Keep the parade orderly. Have safety 
council members acting as section captains so that the group 
is kept in orderly columns. Keep off the lawns, and stay on 
the sidewalks. 

A parade can be fun for everybody, participants and watchers alike. 

Make yours a good one, since this is one of the first impressions the 
neighborhood will have of the playground and its activities. Make your first 
impression a good one. 

TREASURE HUNTS * 

An interesting adventure that may be introduced into the program is a 
treasure bunt. Buried treasures and puzzling clues appeal to the youth of 
all ages. A number of suggestions are included in this section for treasure 
hunts that may be varied according to the group. 

Method of Organization: 

1. Organize small teams. 

2. Provide each team with paper and pencil. 

3. Explain method of writing clue. 

a. Re-word clues. 

b. Re-arrange letters in words. 

Hints to treasure hunt leader: 

1. Plan your hunt to fit the group. Use simple clues. 

2. Do not include allusions or material with which the majority 
of the group is unfamiliar. 

3. Arrange the hunt in the playground only. 

4. Use inexpensive prizes and have something for everyone (pea¬ 
nuts or wrapped candies). White elephants may be used as 
prizes. 

5. When only one copy of a clue is made, the hunters must copy 
it and then return it to the same place. 


Laying the trail: 

1. Lay your trail backward. 

2. Start with your last clue, 10. 

3. Then your next clue (9), telling how to get to clue 10. 

4. Then clue 8, writing on it directions for finding clue 9. 

5. Gradually move to the spot where you plan to start with clue 1. 

6. The words must be arranged in a sentence to form the clue. 


47 


Example: 



Solution: "Look doorstep of third house." 

Checking the hunt: 

1. Every one must have found the clues. 

2. Make duplicates of all clues. Each person must have one of 
each. 

3. Draw a different symbol (simple one) on the corner of each 
clue. Each team must have list of symbols from clues. 

4. Slips of paper left at each clue. Hunters take one; at the 
finish they must show a full series. 

Safety in the hunt: 

1. If laid off the playground, eliminate crossing streets. 

2. Fasten clues with adhesive tape, thumbtacks, or pins. 

3. Include in the hunt children of nearly the same age, or have 
teams made up of varied ages so that all have a fair chance. 

Types of clues: 

1. Simple directions 

a. Example: "Walk to the drinking fountain." 

2. Riddles in rhyme 

a. Example: "If you are dry 

This way you'll hie." (drinking fountain). 

3. Cryptograms: Make these short and give the key to the 

hunters. 


48 

















a. Example: 


A 

.._ 

B 

_ 

C 

D 

E 

F 

G 

H 

I 


J ! K i L 
i—-t— 
M ! N : 0 

__ I_l_ 

P 1 Q ] R 

I | 


S 

T | U 

V 

W 1 X 

Y 

1 

Z 9 

i 



Clue: 


Solution: Go one block east. 


4. Indian signs: 


Rocks: 



This is 
the trail 



This is 
the trail 



Turn 

right 



Turn 

right 



Turn Important 

left warning 



Turn Important 

left warning 


False clues: 

1. Use false clues to make the hunt last longer. Only true clues 
lead to the treasure. 

Suggested clues: 

1. Clues may be given in the form of a quotation from a song which 
will reveal the location of the next clue. 

Example: "Come follow me to the next tree." 


Cross word Puzzles: 

(This may be worked by couples or individually.) 

1. One letter of each word in the clue is written in. 

2. Arrange it so the whole of puzzle is worked out. 


49 












SCAVENGER HUNT 


1. Each person is given a list of articles to collect and bring back. 

2. All must have the same list. 

3. Object of the game: first one back with all articles wins. 

4. Time limit is generally 1 1/2 hours. 

5. Objects to collect: 

Newspaper 

Oyster shell 

Milk bottle 

Last month's calendar 

Street car transfer, etc. 

6. Any number of people may participate. 

7. Be sure you do not include policemen's hats or other objects which 
might get the collectors in trouble. 

8. Winner is the team having most of listed articles, provided 
members of the team return within the time limit. 


50 


IQIOBBIHIIB 


Chapter V 
HANDCRAFT 

- • - 


Introduction 

Art Crafts 

Masks 

Finger Weaving 
Wooden Articles 

Miscellaneous Handcraft Materials 
Seeds and Nuts 
Scrap Leather 
Old Felt Hats 

Paper Dolls 

Doll Furniture 

Useful Articles 

Kites 

Pinocchio on a Stick 

Paper Cut-Outs 

The Poster Making Art 




The noise of the hammer will be ever in his ear 
Without these (the handicrafts) cannot a city 
be inhabited. 

Apocrypha 

To charge all things you fashion, with a breath 
of your own spirit. 

Kahlil Gibran, The Prophet 


51 


INTRODUCTION 


The following projects have been selected with a realization of the 
difficulty involved in conducting a satisfactory handcraft program on a 
playground where proper facilities are lacking and materials and tools are 
limited in number. The standards of workmanship must necessarily be some¬ 
what modified under these circumstances, but they need not be completely 
lacking. Even under these conditions, an article made in handcraft can be: 

1. Useful either to the child or some member of his family. 

2. Neatly and carefully made. 

3. Of good design and good color combination. 

4. Interesting to make. 

5. A created piece rather than a copied one. 

From the creation of such a simple project, the child may learn many 
things: good color combinations, principles of design, how to use good 
taste in creating projects, as well as the joy that comes of creating 
things with his hands. Set your standards high; you can always come down. 

ART CRAFTS • 


Masks 

ORIGIN OF MASKS (Hopi Kacina Masks) 

In the long ago, great gods or Katcinas came from the west to stay 
for short periods with the Hopi and teach them how to hunt, plant seeds, 
make pottery and blankets, and how to build houses of stone. The gods were 
odd looking people, had strange heads, and walked awkwardly. At the end 
of one of these visits, the Hopi, circled around a fire, discussed their re¬ 
cent visitors; and one of them described the way one of the gods walked bow- 
legged, imitating his way of walking. Everybody laughed at the imitation. 
After everybody left the bow-legged god returned, and he was angry with 
them. Soon everything was wrecked by a wind storm which caused desolation 
and misery over Hopi land. After much suffering had been endured by the 
mortals the gods relented and instructed the people to wear masks like the 
gods they mocked. The Hopi did this, and every year they hold dances so 
that their fields will yield bountiful crops. 


52 


These masks may be made of corrugated 
boxes and hat boxes. Ears and noses 
may be made of oatmeal boxes. 


These masks should be painted in 
very brilliant color schemes. There 
is a chance here for simple abstract 
effects. 




53 


















PAPER BAG MASKS 

Materials: Large grocer's bags, Crepe paper, Cellophane wrapping, 
Colored or metal paper. 

Directions: Cut opening for eyes and nose. Use decorative paper for 

eyebrows, mustache and beards. (See figures below showing 
ears and nose). 



MATERIALS 





Y 1 


Finger Weaving 



String, Cord, Fibre Roving, Yarn, Cotton Tape - Strips of Fabric. 


PROCESS 

1. Cut lengths of material 2 1/8 times the length of the finished 
article. 

2. Any number of lengths may be used. 

3. Tie strands in center with cord. 

4. Attach to a nail or some other fixed article. 

5. Weave right outer strand over and under remaining strands toward 
the left. 


54 















































6. Remember that the right strand is always the weaving strand and 
always goes over the first and then under. 

7. Repeat this process until you get desired length of article 
wanted. 

8. If material is used, fold in half lengthwise, and stitch along the 
edge, then turn inside out and press. 

COLOR PATTERN 

Plan strands in color combinations. 

Examples: a. If the two inside strands are dark blue. 

b. The next four counting from the center out will 
be medium blue. 

c. Remainder of strands will be pale blue. 


FINISHING 

1. When the weaving is finished, cut ends of strands off evenly. 

2. Ends may be turned back and sewed into place. 

3. Ends may be left rough and caught with a needle and thread. 

4. If a belt is made, a buckle will bold the ends securely. 



2. Bracelets. 

3. Collar and cuff bands. 


4. Belts. 


55 






















WOODEN ARTICLES 


Books 

This is a simple inexpensive project that is adapted to all ages, and 
yet can utilize considerable craftsmanship and ingenuity. The sturdy, 
permanent, artistic covers add attractiveness to these books and make them 
unusual gifts. 

MATERIALS 

1. Wood 

a. Wood from boxes sand papered smooth. 

b. Three plywood. 

c. Bass wood. 

2. Hinges and lacings may be of leather or metal hinges may be 
bought at hardware stores. 

3. Metal screw posts. 

4. Short nails or tacks. 

5. Brace and quarter inch bit. 

6. Stain and sandpaper. 

7. Wrapping paper will be used for the pages. 

COVER DESIGNS 

1. Design may be chip carving. 

2. Design may be burned on with a hot-pointed electric pyro pencil. 

3. A painted design may be used. 

4. Soft leather corners may be glued on to covers. 

5. Designs should be original and should give a clue to the 
contents. 

Example: Nature motif for a nature book. 

6. Stain completed book after carving. 

7. Waxing a stained book with floor wax gives a good finish. 

Books and portfolios can be made of scrap three plywood, which should 
be well sandpapered, carefully stained, and shellacked evenly to obtain the 
best results. The hinges and catches can be made of leather, but the leather 


56 


should be fairly heavy and should not be of a type that stretches. 



Coasters 

A variety of coaster shapes are possible when they are made of bass 
wood or plywood about 1/4" thick. The designs should be carved with gouges 
or chip carved. The pieces should be well sanded on the edges. Three 
coats of shellac, which are rubbed before the next coat is applied, are neces¬ 
sary. The pieces may be shellacked and then painted with enamel paints. 



Pencil Rack 

This is made from a solid block of wood. Holes large enough to re¬ 
ceive a pencil or crayon are bored in the block, and other depressions that 


57 





























will hold scissors or additional craft tools are made. Such a holder is 
excellent for use on craft tables. 



Looms 

One of the best ways to utilize scrap lumber is to make looms for 
weaving or frames for rug making. Nearly all the small looms can be con 
structed from cigar boxes or crates. 




This rack makes an excellent scrap lumber project. The ends can be 
cut into various shapes and still have the grooves cut as illustrated. The 
ends should be cut from 1/2” lumber. Cut the two slats from 1/4" lumber or 
three plywood. The drawing below at the right suggests a fish design and 
can easily be made more so by extending one end for a tail and moving the 
position of the eye. Other animal designs may be created. 



58 








Book Ends 

Book ends are one of the best scrap lumber projects, since they require 
only small pieces of wood and may be made in many different styles. The 
illustrations below show a number of different ways of holding books in 
place. 



Picture Frames 

These picture frames are designed to hold a piece of glass in place 
by means of a frame on each side. A picture is inserted at the back hand 
held with a piece of stiff paper or cardboard. 




59 










































Toys 

The wooden pins can be cut from any thin wood, well sandpapered and painted 
or stained. Shellac might also be applied. The pin back is lightly hammered into 
the back, care being taken not to flatten the prongs. It is well to apply a little 
glue while setting the pin. 



The base is cut from the bottom of an orange crate. An arrow is attached 
by drawing a nail through the center. The arrow can be made from wood or compo¬ 
sition. It is possible to play a variety of games with this spinner. 



Paper Games Applied to Wood 

Such games as Battle Ship and Tit-Tat-To can be laid out on three plywood. 
The lines can be painted on and covered with several layers of white shellac. 
Bottle caps or small disks are used to play the game. 



60 

























































VARIOUS TYPES OF BOOKS 

1. Suggested in diagrams below. 

2. They may be any size or shape. 

3. May be opened at top or side. 

4. Make paper pattern first to get artistic proportions. 



onct uj • ivic Ld l or leduicr uiny^cb* oorc w pubub iu iiuiu pcipcr* o». otrcw rue 

(Top screws on). 4. Metal or leather hinges. Lacing down back. 5. Metal 



6. Leather back tacked on. 
back laced on with thongs. 


7. Metal or celluloid binder rings. 8. Wooden 
Two holes in back piece to tie in paper. 



Cut two of Cut one of 
1/4" wood. 1/2" wood. 


Put together with fine nails at 1,2,3,4. 

A and B must be far enough apart so that 
the covers can swing freely on the nails. 
Bevel edges of A if necessary. 



Tracing of 
hinge used 
above. 
(Obtainable 
with nails 
at hardware 
stores.) 


61 








































MISCELLANEOUS HANDCRAFT MATERIALS 


Seeds and Nats 

ACORNS 

May be made into a necklace or buttons and 
BUTTERNUTS 


then shellacked or enameled. 


May be made into bracelets, belts, or buttons. 

BLACK WALNUTS 

Must be cross sectioned. Combined with felt or leather they make belts 
and bracelets. 

WATERMELON SEEDS 

Necklaces may be made of these seeds. 


CHICKEN CORN 

Necklaces, bracelets, and lapel gadgets are all possibilities. 


Corn Doll 



62 




Scrap Leather 


PERSONAL ARTICLES 

Decorative wrist bands, wrist change purses, lapel ornaments, billfolds, 
and change purses can readily be made from small pieces of scrap leather. 




63 








































BOOKMARKS 

Bookmarks can be made very effectively from scrap leather. Prepare the 
design. Popular designs include birds, animals, etc. Paste them on the 
leather and cut out bookmark with fairly sharp scissors. Lace the ornament 
to the bookmark as shown in the illustration. Paralin makes good ornaments 
or other pieces of leather may be used. 

Old Felt Hats 

LAPEL GADGETS 

Lapel gadgets of all types may be fashioned from pieces of felt sal¬ 
vaged from old felt hats. The number of small objects that can be included 
in these gadgets is unlimited. 



Other Novelties 

PHOTO ALBUM 

Scraps of cardboard, leatherette, yarn, etc. may be used in 
making booklets suitable for use as scrapbooks or photograph albums. 



64 


















MINIATURE CHECKERBOARD 

Directions: 1. Cut 5 inch square of cardboard. 

2. Cut 4 inch square of muslin. 

3. Mark out 1/2 inch squares. 

4. Crayon in the dark squares. 

5. Press. 

6. Paste on cardboard. 

7. Cut 1/2 inch dowl rods 1/4 inch thick for use as 
checkers. Crayon or paint them. 



INDIAN GAMES AND OBJECTS 

Rattle making directions: Gourds are dried and then painted with 
Indian designs. The seeds drying inside the gourd form a rattle. This is 
the type of rattle used by Indians in their rain dance ceremonies. 

The object of the Indian stick game is to see whose stick lands with 
the most matching designs uppermost after having been thrown into the air. 
The stick are painted with different Indian designs on each side and can be 
made of either wood or cardboard. Of course only two designs are used--one 
for one side of all sticks and one for the other. 



r\ 


V V 


A A 

! 


w // 






65 




































































































































































COOLIE HAT 

Directions for making: Cut a circle of tag board. Cut the radius 
(from outer edge to center) and lap over a couple of inches as is shown in 
the illustration. Then decorate the hat with colored paper cut in designs 
or with crayon designs and add ties. (One lap over two). 



Directions for making: These match scratchers may be made of colored 
paper or other heavier materials such as wood or cardboard. The sandpaper 
is then fastened onto the figure. 



PIN WHEEL 

Directions for making: Cut out a square of paper. Then cut on the 
dotted lines as shown in the illustration. Bring corners A, B, C, and D in 
succession to the center of the square. Push a pin through the center and 


66 















fasten pin to stick or clothespin. It may be decorated with crayon design 
or colored paper. 




FLUTTER BIRDS 

Directions for making: Fold a piece of construction paper through the 
center. Draw birds or butterflies on this fold. Cut out the bird. Bend 
wings on the dotted line. Insert a piece of string or crepe paper between 
points. Then paste, leaving wings open flat and tail free. 



PENCIL BOX 2&J 
Directions for making: 


ill I 

Cut an 8 inch tube. 



A mailing tube or a tube in 
which supplies have been received may also be used. Cut top and base circles 
by tracing around the tube to obtain the correct size. Pierce both circles. 
Draw a piece of elastic through the bottom. Knot the elastic on the bottom. 
Glue the bottom. Draw the elastic through tube and center of the top. Draw 
the elastic taut and knot on the top. Decorate the box with colored paper or 
cloth. 



67 


























PHOTO ALBUMS 

Directions for making: Cut two 10 inch pieces of cardboard. Then cut 
2 inches off one to be used as front cover. Fasten this 2" piece back onto 
the 10” piece with a strip of tape, making a flexible hinge connection. 
Pierce the holes as shown in the illustration. Bind the edges, decorate, 
and insert paper. Then tie together through holes already punched using a 
shoestring. Stamp and autograph albums can be made the same way. 


9 

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BABUSHKA 

Directions for making: Wash out the sizing from the muslin. Cut 
cloth in a triangular shape. Fringe the edge and tie the fringe to prevent 
raveling. To decorate, draw a design and crayon in the pattern. In order 
to set the colors, lay the crayoned side down on a newspaper. Place on an 
ironing board and cover with a dampened cloth. Then steam the design with 
a hot iron. Designs may be transferred to simple drawstring bags in the 
same manner. These bags serve as marble, jack, and sewing bags. 




68 






























PAPER DOLLS 




Paper dolls always appeal to children and are easily made. 
Directions for making: 

1. Fold a piece of wrapping paper 9 by 18 inches in half. 

2. Fold in half again. 

3. Fold at dotted line (Fig. 2--body). 

4. Fold a piece of wrapping paper 9 by 12 inches. 

5. Fold piece 9 by 12 in three sections. 

6. Fold piece in half again-*arms. 

7. Insert arms in folded first piece (Fig. 5) 

Tie with string as shown by dotted lines. 

8. Cut hands and feet (Fig. 6). 

9. Decorate with colored paper or crayons*-hair and features. 

10. Cut dresses and decorate. 


69 


PAPER FOLDING DOLL 





P R E SS 


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DOLL FURNITURE 


In order to build a doll house with furnishings, collect your orange 
crates, boxes, spools, bits of fabric, and your tools. Follow the simple 
directions and a doll house warming will soon be in order. 

Doll House 

1. Cut a large window in each end of 2 orange crates. 

2. Paste strips of strong thin fabric over inside and outside of 
spaces between boards. 

3. Nail 2 crates together, side upon side. 

4. Use cellophane for windows. 

5. Fit and paste wall paper on the inside of the rooms. 

6. Cover the outside with corrugated card board. 

7. Sand and paint. 


Doll's Cradle 

1. Look through your boxes until you find one that fits the doll. 

2. Use cover of box for bed frame. 

3. Cut hood from one end of box part and glue it inside head of bed. 

4. Cut rockers out of cardboard. 

5. Glue rockers to ends and reinforce with paper fasteners inserted 
through center or sides. 

6. Cover part by part with wall paper. 

7. Then assemble. 


71 



Doll Chairs 

You can make a whole set of chairs for your doll house by using different 
sized boxes. A little chair may be made out of a mailing tube and a cushion 
seat can be added. A middle sized one may be made out of a powder box, and 
a big one out of an oatmeal box with its cover for a seat. 

1. Remove about 1/3 the rim of a powder box. 

2. Glue top of lid to bottom of box. 

3. Cover the lid and box with fabric or paper before assembling. 

4. Paint. 



Chest of Drawers 

Make a chest of drawers for doll's bedroom out of a small cereal box, 
using closed end for top, open end for bottom. 

1. Mark and cut legs. 

2. Reinforce back with card board of identical size plus extension 
above top. 

3. Cover chest with paper or fabric. 

4. Space and mark imitation drawers and handles. 



72 















Doll Arm Chair 

You will need an arm chair for the head of the Doll family. Make it 
from an oblong box of desired seat width that closes telescope fashion. 

1. Mark and cut lid to form back and arms of chair. 

2. Measure and cut off 1 end of box for seat that will fit within 
the back and arm section. 

3. Cover unit by unit with scrap fabric. 

4. Then assemble. 



Pedestal Table 

1. Measure a circle out of card board and cut. 

2. Take 2 empty spools (same height). 

3. Fasten spools together. 

4. Paste on card board circle. 

5. Paint. 



USEFUL ARTICLES • 


Sewing Cabinet 

Collect a number of wooden boxes and crates. Take them apart to 
make available a supply of lumber which, together with parts of discarded 


73 



















furniture, will afford you an opportunity to originate your own furniture de¬ 
signs. This box-like sewing cabinet, which you may proportion to suit your 
individual needs, is simple to construct. 

1. Nail the back and front boards to end boards. 

2. Screw or nail the four legs to inside corners of frame at least 

three inches above the lower edge. 

3. Insert bottom of cabinet from the top and nail to the legs. 

4. Lay boards for the lid on top of the cabinet. 

5. Mark and cut to fit flush with outer edges. 

6. Remove boards, cleat pieces together and hinge to the cabinet 
with hinges from discarded furniture. 

7. Attach rope or chain for lid supports. 

8. Sand and paint cabinet. 

9. Cover with drapery fabric. 

10. Glue a pin cushion of the same fabric to the lid. 



Clothes Hamper 

clothes Y h U am C pe n r. eaSily ‘ Ur " “ COrrugated P acki "2 b °* in ‘° • eay and practical 

1. Fold side and front flaps of cover inside, securing them 
to box with glue. 

2. Remaining flap forms half the lid. 

3. To this flap, tape piece of corrugated cardboard to make 
other half. 

4. Reinforce both sides of lid with cardboard and bind with 
paper. 

5. Shellac and paint inside. 


74 











6. Cover lid and outside of hamper with wall paper. 

7. Decorate with stenciled or block-printed border. 



String Container 

Turn an ice cream carton into a gayly decorated string container. 

1. Cut colored paper to size of top. 

2. Fold 3 times through the center. 

3. On the folded edges cut out small pieces. 

4. Open the circle and paste scraps of other colors under 
openings in your surprise design. 

5. For the box covering combine colors used on lid. 



Canister Set 

For your sweets convert a syrup can into a sugar container, fruit cake 
tin into cookie jar, and marshmallow box into a cake tin. Paint or apply 
cut out letters with paste. 


75 










Women's Accessories 

What girl wouldn't delight in creating these novel dress-up bits? 

1. Buttons 

a. Attach tiny screw eyes to the base of acorns. 

b. Shellac. 

c. Ideal for sweaters. 

2. Butter nuts for buttons 

a. Saw nut in half cross wise. 

b. Saw nut shell rings until buttons become too tiny. 

c. Sand, shellac, or varnish. 

3. Wooden buttons 

a. Drill holes in center. 

b. Saw and sand. 

c. Gouge for carved effect, paint design, or cut out 
shapes of dogs, sail boats, etc. 

4. Broom stick buttons 

a. Saw disks from broom sticks or dry tree limbs. 

b. Drill holes at center and sand. 

c. Shellac or varnish. 

5. More buttons 

a. Thread left over yarn, raffia, or strips of leather 
through center opening of button mold, cardboard, or 
wooden disk. 

b. Wind around mold and back through center. 

c. Draw a strand or two across center opening to finish. 

6. Braided belt 

a. Braid three single strips of ribbon or fabric covered 
cord, or braid three composite strands of string or 
burlap ravelings. 

b. Make it the desired length. 

c. Finish it with a buckle to match. 

7. Bead woven belt 

a. Gather beads from an old pocket book. 

b. Improvise a cigar box or cardboard loom. 

c. Space grooves to accomodate size of beads. 

d. String loom with one more warp threads than there 
are beads in the width of belt. 


e. Thread beads, bring them under all warp threads. 

f. Then push beads up between each warp thread. 

g. Push needle back through all beads and over all 
warp threads. 



KITES 


Tails for Kites 

There are a variety of practical kite tails. Three types are shown in 
the illustration. The first is made of squares of paper gathered at the 
center, in the manner of a bow, along a string. The second is of knotted rags. 



77 










Bridle: 


Tail: 


Bridle: 


Tail: 



Rigging Two Stick Kites 

The bridle consists of two strings. One is cut as long as the 
distance A-C-D and is attached at points A and B. The other is 
attached at points C and D. It is cut long enough to reach the 
peak of the first string over the joint of the two sticks, where 
the flying string is fastened. 

Attach an 18 foot tail of rags or paper bows to point D. 

C 



—^ B 


\ / 


\ / 



D 


Rigging Square Kites 

This is made of two 56 inches long strings, which represent the 
length C-A-B. One is attached to points A and D, while the other 
is fastened to points B and C. They are brought together at a 
point half way between A and B and 9 inches from the top outline 
string, where the flying string is attached. 

A heavy tail of rags may be used on the square kite. The paper bow 
tail can also be used. A single long tail may also be used. It is 
best fastened to a single string attached to point C and D. 



78 






Rigging Three Stick Kite 

Bridle: The bridle is of two strings. One extends from point A to point 

B, and is 38 inches long. The other extends from point C to point 
D and is 46 inches long. They are joined at a point about 12" 
below C and half way between A and B. Tie the flying string at 
this point of intersection. 

Tail: A tail of knotted rags or the usual paper or cloth bow tail is used 

on this kite. It is attached at point D. 


C 




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Rigging Star Kite 


Bridle: Three strings are used for this bridle. One is fastened to point C. 
The second extends from point B to point E, while the third goes 
from A to D. All strings must be long enough to join each other a 
distance of 6" above the face of the kite, and in the center over 
stick B D. 

Tail: A paper bow tail is fastened from a bridle attached to points A and 



79 







Bridle: 


Rigging Bow Kite 

Two strings are used for this bridle. One is as long as A B stick 
and is attached at points A and B. The other is fastened to D and 
C, cut long enough to reach the apex of the first one. The string 
for flying is attached 6" below C and directly over stick C D. 
Tail: Attach an 18 foot tail of rags or paper bows to point D. 



D 

Rigging Eddy Kite 

Bridle: This consists of a single string cut as long as the distance 0 B D. 
It has one end attached to point 0, where the two sticks cross, 
while its other end is fastened to point D. The flying string is 
fastened just below point 0. 

Tail: Kites of this type do not require tails. 

C 



\ / 
\ / 


0 

FRONT 



o 

TOP 


80 








Bridle: 


Rigging Target Kite 

One bridle is fastened at points 1 and 2 along stick F C, while the 
ends of the other are attached to points 3 and 4 on the stick just 
above X. 

Tail: Two rag bow tails are attached to points F and E. The cardboard 

shoes are fastened at their ends. (Use a simple clown face or 
similar design.) 





PINOCCHIO-ON-A-STICK © 

To make this type of an adjustable toy select a cardboard of a fairly 
strong texture (preferably a lightweight beaver board). 

1. Sketch on the cardboard a plan 18 inches high by 6 inches wide. 

2. The face should measure 4 inches by 3 inches. (The features of 
Pinocchio may be copied onto the face from either book illustra¬ 
tions or from a pinocchio doll.) 

3. The arms should measure about 4 inches in length. 

4. The legs should be slightly longer--4 1/2 inches. 


81 





































































To assemble the toy: 

1. About two inches down on the torso insert 2 brads or brass 
pins of the type used in clipping papers together. Push 
through tbe arms and bend over ends of each pin. (One arm 
may be stationary and a donkey’s tail substituted on one side.) 

2. The legs and, if long donkey ears are desired, ears are at¬ 
tached in the same way. 

3. To reinforce the doll (if necessary) a durable stick measuring 
about 1/4 inch in diameter and 12 to 14 inches in length may be 
secured to the back of the toy by tacks. 

Rigging: 

1. In order to manipulate Pinocchio's arms, 2 pieces of string 
are attached to the arm sockets about 1/4 inch away from the 
brads. A crosspiece of string connects tbe two. Another 
string about a foot long (control cord) is then tied to the 
crosspiece. Upon pulling the control cord downward, the up¬ 
ward movement of the arms results. 

2. A similar string is attached to the legs. (If movable 

6 inch ears are also used, then arrange rigging in the same 
way.) 

3. The control cords may be run through a small round hoop screw 
fastened to the wooden stick. 

Various colored papers may be used for Pinocchio's face, features, and 
clothing. A small piece of felt, colored cloth, or paper may be used for 
the hat which is topped by a real or paper feather. 



82 



PAPER CUT-OUTS (Polish Folk Art) 


For the average group of playground children making paper cut-outs 
offers an excellent stimulus to the individual's artistic abilities. It is 
also constructive. During inclement weather, when outdoor activities are 
curtailed, small groups may be instructed in this fascinating art. Though 
the cut-out in some countries, Poland for example, is intricate and beauti¬ 
ful, simpler designs are more practical as playground activities. 

Cut outs may be of any size but a practical size for playground use is 
the 2 foot square. Ordinary typing paper may be used. However, the more 
indestructible wrapping paper is preferable if you plan to keep the cut-out for 
any length of time. A border line about 1/2 inch from the edge is marked off. 
A mark is made in the center and the design worked outward from this center 
point. Each design is laid out differently, but in working from the cen¬ 
ter outward, squares are usually employed with smaller units of squares 
integrated into the larger. The design should be sketched in completely. 

After the first row of squares has been completed, (This should fill 
approximately 2 inches on each side of the center.) a second row is sketched. 
You must remember to allow at least 1/4 inch margin around each line drawn. 
When all spaces are cut out, you will find that each connecting bar must 
have enough tension to prevent drooping. This second row, therefore, must 
be interspersed with alternate cross-pieces. These may be laid out on an 
angle or horizontally to give support to the many interlaced units. 

As you work outward other shapes such as circles, octagons, etc. may 
be used. Some special insignia may be worked into the design. The last 
row next to the outer margin should be made to dovetail into the border. 

These should be sketched to give the effect of a border design. 

Ordinary shears are often used to make these cut-outs, but barber 
shears with their sharp points are preferable. For cutting tiny curves a 
small blade may also be used. The design can be worked out on different 
colored papers. Or the cut-out may be placed over another sheet of paper 
and all the open spaces colored. When the top piece is removed a pleasing 
design is visible. 

Cut-outs based on circles rather than on squares may be made or 
flowers, dolls, or animals may be used as the basic design. To preserve the 
cut-out, you can shellac it on both sides or mount it. 

THE POSTER MAKING ART # 

The appeal of your bulletin board is assured if posters displayed on 
it are attractive. 


83 


A good poster should be: 

1. Colorful. Reds, blues, greens, blended colors, and black 
and white should used be with a view to attracting the eye, 
maintaining harmony, and highlighting the important parts of 
the poster. 

2. Neat. Posters should not be messy. They should be symmetrical, 
and all lettering should be legible. 

3. Informative. Each poster should show plainly time, place, 
event, etc. It should be descriptive, appropriate, accurate, 
and self explanatory. 

4. Attractive. Good design, color scheme, perspective, and 
lettering all combine to make the attractive poster. 


84 


nnmnnmmmnnnnnnnnnnnnnn 


Chapter VI 

SINGING GAMES, FOLK DANCING, AND FOLK SONGS 


Quotations 

Introduction 

Titles 

A Hunting We Will Go 
Skip To My Lou 
Dollar Dollar 
Hickory Dickory Dock 
Old Roger is Dead 
Blue Bird 

When I Was a School Girl 
Brier Rose Bud 
Shoo Fly 
Mazoo 

Bob-a-Nellie 
William Penn 
Muffin Man 

Little Sister Come With Me 
Looby Loo 


Punchinello 

Pop Goes the Weasel 

Four Dukes 

Paw Paw Patch 

Green Gravel 

Oats Peas Beans 

Go In and Out the Window 

All Around the Maypole 

Farmer Sows His Wheat 

Blue Bird--In and Out My Window 

Lady in the Castle 

Thorn Rosa 

Annie Goes to the Cabbage Patch 
Oh Where Has My Little Dog Gone 


nnnnnnnnmnmmnmmnmnnmnn 


There was music within and a song, 

And echoes did feed on the sweetness, repeating it long. 

I opened the doors of my heart. And behold, 

There was music that played itself out in aeolian notes; 
Then was heard, as a far away bell at long intervals tolled. 

Jean Inge low, Contrasted Songs 

Those move easiest who have learned to dance. 

Alexander Pope, Essay on Criticism 


85 


INTRODUCTION 






The folk dances, songs, and singing games presented here are not new; , £ 
they have come down through the years growing brighter as a coin does with 
handling. They are the expression of the joys and sorrows of the peoples 
of the past. 

We hope that, as you learn them, you will try to understand them. We 
also hope that when you teach them, you will present them as accurately as 
you can. In addition to accuracy, a feeling of sincerity and respect for 
all folk art will do much to improve your presentation. This method of 
presentation need not detract from the fun; in fact, it should add to it. 

Pass these songs and dances along as you have found them. They need no 
change; much of their charm and beauty lies in their simplicity. To para¬ 
phrase a familiar quotation: 

"Let it not be said, that all was beauty there 
Until you started swinging it." 


A HUNTING WE WILL GO 




86 










































































Formation: Two parallel lines of six players each, facing one another. 

Verse 

Lines 1 and 2. The first (head) couple join crossed bands and skip down 
between the ranks. The other players stand in place and clap hands in rhythm. 

Lines 3 and 4. The couple face about (turning inward without losing 
the grasp), and return in the same manner. 

Chorus 

All join crossed hands and skip to the left in a circle, following the 
leaders. When the head couple reaches the place previously occupied by the 
last couple, they form an arch under which all the others skip. 

The second couple now becomes the head. The game is repeated until all 
have regained their original positions. 


PUNCHINELLO 

(A Singing Game) 


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Look who's here, Punchinello, Punchinello, 

Look who's here, Punchinello, Punchinello, 

What can you do, Punchinello, Punchinello, 

What can you do, Punchinello, little boy? (girl) 

We can do the same, Punchinello, Punchinello, 

We can do the same, Punchinello, little boy. (girl) 

Whom do you choose, Punchinello, Punchinello? 

Whom do you choose, Punchinello, little boy? (girl) 

Formation: The children stand in a single circle facing the center. 
One child stands in the middle. During the second stanza the child per¬ 
forms any movements he wishes with arms, legs, or body, keeping time with 
the music as sung by the children. During the third stanza all imitate the 
action. A new child is chosen during the last stanza to be the center 
performer. 


SKIP TO MY LOU 

(Pennsylvania version of American Folk Dance.) 





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1. Gents to the center, skip to my Lou (3 times) 

Skip to my Lou, My darling. 

2. Ladies to the center, skip to my Lou (3 times) 

Skip to my Lou, My darling. 

3. Bow to your partner, skip to my Lou (3 times) 

Skip to my Lou, My darling. 

4. And now to your opposite, skip to my Lou (3 times) 
Skip to my Lou, My darling. 

5. Swing your partner, skip to my Lou (3 times) 

Skip to my Lou, My darling. 


88 






























































6 . 


And now your opposite, skip to my Lay (3 times) 

Skip to my Lou, My darling. 

7. Promenade all and skip to my Lou (3 times) 

Skip to my Lou, My darling. 

8. I lost my lover, what shall I do? (3 times) 

Skip to my Lou, My darling. 

9. I found another one just as true; (or better than you) (3 times) 
Skip to my Lou, My darling. 

Formation: Single circle of partners, facing in. The girl stands at 
her partner's right. If there are extra players, two or three may remain 
inside the circle and join the boys in tbe promeaade. 

Action: All sing. 

1. Boys march to center with short unhurried steps and return to 
their former positions in time to stand and sing the "Skip to 
my Lou, My darling." 

2. Girl's action same as that for the boys. 

3. Both boys and girls bow three times. 

4. Same as third action. 

5. Boy takes a step or two toward center of circle, turns, faces 
the girl, and swings her twice, finishing just in time to stand 
while "Skip to my Lou, My darling" is sung. 

6. Boy swings the girl standing to his left in the same manner as 
he swings his partner. 

7. Partners promenade--boys on inside of circle, hands in skating 
fashion--counter-clockwise. 

8. Girls continue to march counter-clockwise and boys turn in the 
opposite direction joined by the extra players. 

9. At the beginning of these words the boy seizes a partner and, as 
in seven, marches in her direction. At the close of nine all 
stop and the action is repeated. The action is graceful, un¬ 
hurried, but not to be dragged. 


89 


POP GOES THE WEASEL 


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Formation: Double circle, fours facing. No. 1 couples facing line of 
direction, No. 2 couples facing against line of direction. Partners inside 
hands joined, outside hands on hips. 


Action: Measures 1 and 2: 

Measures 3 and 4: 
Measures 5 and 6: 

Measures 7 and 8: 


Skip forward four steps. 

Skip back four steps. 

Join hands in circles of four and 
skip around four steps. 

All couples No. 1 raise joined hands 
to make arches and skip forward while 
couples No. 2 skip under arches to 
meet new couples. 

Repeat all. 


90 

























































DOLLAR,DOLLAR 

(A Singing Game) 




Verse 

Dollar, dollar, how you wander 
From the one hand to the other; 

Is it fair? Is it fair, 

To keep poor Mary (any name) standing there? 


Players are seated in a close circle while one stands in the center. 
Each one in the circle places his left hand palm up on his left knee. One 
player holds a coin or other small object in his right hand. All sing the 
song and everyone keeps time to its rhythm by placing his right hand first 
in his own left hand, then in his neighbor's left, then back in his own, 
etc., pretending each time that he is really transferring the coin from 
his own hand to that of his right hand neighbor. The object is, of course, 
to pass the coin so cleverly around the circle that the player in the 
center cannot discover its whereabouts. When he thinks he knows where it 
is. he points to some hand or pair of hands in the circle and investigates. 
If he is correct, the player who holds the coin must take his place in the 
center, while he joins the circle. 


FOUR DUKES 




91 














































1 . 


2 . 


3. 


4. 


5. 


6 . 


7. 


B°y s 

Here come four dukes a-riding, a*riding, a*riding; 

Here come four dukes a*riding, 

With a ransy tansee tee. 

Girls „ 

What are you riding here for, here for, here tor. 

What are you --- etc. 

Boys , 

We're riding here to get married, married, married; etc. 

Girls 

Please take one of us sir, us sir, us sir; etc. 

Boys 

You're all too black and dirty, dirty, dirty; etc. 
Variations: 

You're all as stiff as pokers, or 
You're all too old and ugly, or 
You're all as black as gypsies. 

Girls 

We're just as clean as you are, you are, you are; etc. 
Variations: 

We can bow as well as you sirs, or 
We're just as good as you are, or 
We're just as white as you are. 

Boys 

You're the fairest one I see, one I see, one I see; etc. 


Action: 

Boys stand in one line with arms locked. Girls stand six feet away 
in another line. 

1. Boys gallop up to the girls' line and back to place. 

2. Girls advance toward the boys’ line and retire. 

3. Boys advance again and retire. 

4. Girls skip up and back as before. 

5. Boys walk forward waving the girls back in disgust. 

6. Girls advance haughtily. 

7. Each of the boys takes the arm of one of the girls and 
skips away with her. 




92 


HICKORY DICKORY DOCK 


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Action: 

Children form a double circle, facing each other. The dance should 
accompany the nursery rhyme as indicated below. 

1. 2 measures--with arms hanging rather stiffly in front of body 

to represent a pendulum, swing arms slowly left, right, left. 

On the words, tick-tock, place hands on hips and take two 
light stamps in place--left, right. 

2 measures--partners change places with quick, little running 
steps. 

1 measure--partners clap right hands vigorously together. 

1 measure--partners return to places. 

2 measures--swing arms from left to right as described above. 

2. 2 measures--partners join both hands and extend them to the 

side shoulder high. Take three slides, going clockwise 
around the circle, and two stamps in place. 

2 measures--three slides in opposite direction (counter¬ 
clockwise) and two stamps. 

2 measures--join right hands with partner. Start with left 
foot, take three slow steps, left, right, left, changing 
places with partner. Turn, facing partner, place right 
foot behind, girls take skirts with both hands and make 
curtsey to partner. 

2 measures--join left hands with partner, start with right 
foot and repeat the above, return to place and. curtsey to 
partner. 

Note: During 2. The children sing softly the syllable, "la". Music should 
be a little quicker for the slides and should slow while the 


93 




































children are changing places. A very definite retard in the 
music should accompany the curtsey. 


PAW PAW PATCH 

(Tune of Ten Little Indians) 


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Verse 

1. Where, 0 where is sweet little Mary 

Where, 0 where is sweet little Mary 

Where, 0 where is sweet little Mary? 

Way down yonder in the paw paw patch. 

2. Come on boys, let's go find her; etc. 

3. Pickin' up paw paws, puttin' 'em in her pocket; etc. 

Action: 

The formation is the same as for the Virginia Reel, boys in one line 
facing partners in opposite line. (Girls on the right as partners face the 
head of the set.) 

1. Sing the first verse to the name of the girl at the head of the 
line, during which she skips out to the right completely around the set and 
back to her own place. 

2. During the second verse the same girl skips around the set followed 
by the whole line of boys one behind the other, until all are back in position. 

3. Without any break in the time, all sing the third verse. The first 
boy in the line joins bands with the first girl, each boy behind him takes his 
partner and all follow the head couple around the same course and back into 
original positions. The head couple then retire to the foot of the set and the 
first verse is sung again to the new girl at the head. Repeat for each girl 

in turn. Then play through again for the boys--Where, 0 where is poor little 
Willie, etc. 


94 





















































OLD ROGER IS DEAD 



Verse 

1. Old Roger is dead and gone to his grave. Hrn-hm Gone to his grave. 

2. They planted an apple tree over his head. Hm-hm Over his Lead. 

3. The apples were ripe and ready to drop; etc. 

4. There came an old woman picking them up; etc. 

5. Old Roger got up and gave her a thump; etc. 

6. Which made the old woman go hippity hop; etc. 

Action: 

Children form circle, joining hands. Choose Old Roger, who lies down 
in the center with his arms folded over his chest. 

1. Players sing and march around the circle. 

2. Child representing apple tree centers circle with arms stretched 
out shoulder height, fingers extended. 

3. Tree moves fingers to represent apples falling. 

4. Child representing old woman comes in and picks up apples. 

5. Roger gets up and chases old woman. 

6. Roger lies down; old woman limps around circle. 

7. Each child then chooses another to take his place and the game 

is repeated. 


GREEN GRAVEL 


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95 











































Verse 

1. Green gravel, green gravel, the grass is so green 
All over creation you're ashamed to be seen. 

2. Oh (girl's name), Oh (girl's name) your lover is dead, 

He wrote you a letter to turn back your head. 

3. He'll wash you in milk, he'll dress you in silk, 

He'll write your name down in gold pen and ink. 

Action: 

A circle game of boys or girls, or both. . . 

1. Join hands and march around in a single circle during the first 

verse, facing the center. 

2. When a name is called in the second verse, that player turns 
face to the outside and continues. 

3. Game is played over until all names are used, or as the time 
permits and interest continues. The game can begin over when 
all face outward by having them face inward again. 


BLUE BIRD 



Verse 

1. Two little bluebirds out of the window 
Out of the window, out of the window, 

Two little bluebirds out of the window 
Old Virginia style. 

2. Take your partner's hand and swing each other 
Swing each other, swing each other. 

Take your partner's hand and swing each other 
Old Virginia style. 


96 































Action: 

A single circle with two or more girls in the middle starts the game. 
During the singing of the verse, the girls go in and out of the circle 
under the upraised arms of the players, stopping in front of a chosen part¬ 
ner at the end of the first verse. 

During the singing of the second verse partners swing, and the game is 
repeated. The girls join the circle and boys remain in the center. The 
word ’’buzzards" is substituted for bluebirds when the boys are in the 

center. 


OATS, PEAS,BEANS 


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Verse 

1. Oats, peas, beans, and barley grow 
Oats, peas, beans, and barley grow 
Can you or I or anyone know 

How oats, peas, beans, and barley grow. 

2. Thus the farmer sows his seed, 

Thus he stands and takes his ease; 

He stamps his foot and claps his bands, 
And turns around to view the land. 

3. Waiting for a partner, 

Waiting for a partner, 

Open the ring and choose one in, 

While we all gaily dance and sing. 

4. Now you're married, you must obey, 

You must be true to all you say, 

You must be kind, you must be good, 

And keep your wife in kindling wood. 


97 





















Action: 

1. Circle walks around the farmer who stands in the center. 

2. Action follows words. 

3. Farmer chooses a partner from players in the circle, who 
continue to walk around as in verse 1. 

4. All skip. 


WHEN I WAS A SCHOOL GIRL 


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Verse 

1. 0, when I was a schoolgirl, a schoolgirl, a schoogirl; 

0, when I was a schoolgirl, 0 this way went I. 

0, this way went I, 0 that way went I. 

0, when I was a schoolgirl, 0 this way went I. 

2. Same as first verse using wcrd "teacher" for schoolgirl. 

3. Use the word "sailor." Stand and pull in anchor or climb rope. 

4. Use the word "lady." 

5. Use the word "cobbler". Sit on the floor during this verse. 

6. Use the word "mover." 

7. And when my life was ended, was ended, was ended; 

And when my life was ended, how sorry was I. 

How sorry was I, how sorry was I. 

And when my life was ended, how sorry was I. 


Action: 

Six or eight children form a circle, join hands, and then skip to the 
left eight measures. For the next eight measures in each verse, perform 
the action suited to the character which is being imitated. 


98 
























































GO IN AND OUT THE WINDOW 

(A Singing Game) 


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Verse 

1. (Above). 

2. Go forth and face your lover, (3 phrases of music) 

For we have gained the day. 

3. I kneel because I love you, ... etc. 

4. I measure my love to show you, ... etc. 

5. I'd break my neck to kiss you, ... etc. or 
One kiss and then I leave you, ... etc. 

6. I take my wife to London town ... etc. 

Action: 

Form a circle of boys and girls, facing the center, with hands joined, 
(one sixth of group inside). 

1. As the singing begins the circle moves to the left and the 
players in the center individually go in and out under the 
clasped hands, during the first verse. 

2. During the second verse the inside players each choose a 
partner and face them in the circle. 

3. During third verse they kneel before them. 

4. Indicate the measure of their love by stretching out arms 
or measuring a distance between fingers. 

5. The fifth verse may or may not be real. 

6. During the last verse, the one inside takes the new partner 
and both skip around in the circle to starting point. Then 
the one chosen steps inside and the game begins over again. 


99 























BRIER ROSE BUD 



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Verse 

1. Form a circle with Brier Rose Bud inside. 

2. She lived up in a lonely tower, lonely tower, lonely tower, 

She lived up in a lonely tower, tower so high. (Make a tower.) 

3. One day there came a wicked witch, wicked witch, wicked witch, 

One day there came a wicked witch, to the tower. (Witch comes.) 

4. She taught Brier Rose Bud how to spin, how to spin, how to spin, 

She taught Brier Rose Bud how to spin, The magic thread. (Twirls spindle.) 

5. Brier Rose Bud pricked her pretty thumb, pretty thumb, pretty thumb, 

Brier Rose Bud pricked her pretty thumb, On the spindle sharp. (Pricks 

finger.) 

6. She fell asleep a hundred years, a hundred years, a hundred years, 

She fell asleep a hundred years, as if dead. (Falls asleep.) 

7. Great thorny hedges closed her round, closed her round, closed her round, 
Great thorny hedges closed her round, as she sleeps. (Make hedge.) 

8. The prince then came and cut them down, cut them down, cut them down, 

The prince then came and cut them down, with his sword. (Cut with sword.) 

9. Brier Rose Bud wakens at his touch, at his touch, at his touch, 

Brier Rose Bud wakens at his touch, from her sleep. (She wakens.) 

10. And then they galloped and galloped away, galloped away, galloped away, 

And then they galloped and galloped away, to his castle fair. (Gallop 
away.) 


Bibliography Of Singing Games 

Games: A Hunting We Will Go; Punchinello; Pop Goes the Weasel; Four Dukes; 
Hickory Dickory Dock and Green Gravel. 

Lynn and Katherine Rohrbough, The Recreation Kit, Church Recreation Service, 
Delaware, Ohio. 

Games: Dollar Dollar and Paw Paw Patch. 

N. P. Neilson and Winifred Van Hagen, Physical Education for Elementary 
Schools, A. S. Barnes and Co., New York. 


100 





















ALL AROUND THE MAYPOLE 


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Verse 

All around the Maypole, Tra la la 
All around the Maypole, Tra la la 
All around the Maypole, Tra la la 
I love sugar and candy. 


2. Won't you show us a motion, Tra 
la la, etc. 

3. That’s a very fine motion, Tra 
la la, etc. 


Action: 

Entire game is played in a single circle formation with one person as 
"it” in ihe center. On the first verse, the circle moves to the left, holding 
hands. On the second verse, "it" does a motion or action in the center while 
the circle faces in with all the children clapping their bands as they sing 
the second verse. On the third verse, all of the children mimic the action 
of the person in the center who continues to make the motion until the end 
of the song. "It" then chooses someone to take her place and the game is re¬ 
peated. 


SHOO FLY 


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101 















































































Verse 

Shoo fly don’t bother me, 

Shoo fly don't bother me, 

Shoo fly don't bother me, 

For I belong to somebody. 

Chorus 

I do, I do, I do, and I ain't going to tell you who, 

For I belong to somebody, Yes, indeed, I do: 

Action: 

The circle joins hands, walks into center four steps and back to place 
in four steps. Repeat. On chorus, circle turns itself inside out without 
breaking grip. Repeat first part, with circle moving into the center back 
to back, and on chorus, turn circle right side out again. 


FARMER SOWS HIS WHEAT 



Verse 

1. The farmer sows his wheat, the farmer sows his wheat, heigh ho the 
derrio, the farmer sows his wheat. (Children stoop as farmer skips 
around making motions of sowing seed). 

2. The rain begins to fall, etc. (Child skips around circle--motion of 
rain). 

3. The sun begins to shine, etc. (Child skips around circle--arms held in 
circle). 

4. The wheat begins to grow, etc. (Stooping children rise with arms over head). 

5. The wind begins to blow, etc. (Children representing wheat begin to 
sway). 

6. The farmer cuts his wheat, etc. (Farmer makes cutting motion, children 
drop arms). 

7. He binds them into sheaves, etc. (He puts children in groups of two or 
three). 

8. The sheaves begin to dance, etc. (Small groups skip around in small circles.) 
Repeat with new children acting the parts of farmer, rain, and sun. 


102 

















MAZOO 


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Verse 

1. Go in and out my window, Mazoo; Mazoo; Go in and 
Out my window, Mazooianna- 200 , 

2. Now wash each tiny window, Mazoo, Mazoo; etc. 

3. Now let me see you shuffle, Mazoo, Mazoo; etc. 

4. Now choose a tiny partner, Mazoo, Mazoo; etc. 


Action: 

1 . 


2 . 


3. 


4. 


Single circle is formed with children holding hands raised high. 

"It" weaves in and out of the circle until the end of the verse. 

"It” walks around the circle making the motion of washing the faces 
of the players. 

"It" makes a motion or action of some sort while the children in the 
circle clap their hands in time to the music. 

’’It” walks around the circle and at the end of the verse selects a 
person to be "it" for the next game. 


BLUE BIRD 


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Verse 

1. Bluebird, Bluebird, In and out my windows, 
Bluebird, Bluebird, In and out my windows, 

Oh! Johnny, I am tired. Oh! Johnny, I am tired. 


2. Take a little partner and tap him on the shoulder, 
Take a little partner and tap him on the shoulder, 
Oh! Johnny, I am tired; Oh! Johnny, I am tired. 


103 























































Action for Bluebird: 

The group stands in a single circle, clasping hands to make windows. 
During first verse, leader or leaders skip or run in and out the windows. 

On "On! Johnny, I am tired" all players stop and stretch arms. Leaders in 
second verse stand behind a partner, tapping his shoulders while singing that 
verse. As the song is sung again, the leaders and the ones they tapped are 
bluebirds. 


BOB A NELLIE 




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104 

































Formation: 

Large circle, moving clockwise. Two children in center of circle, one 
kneeling and one standing. 

Action: 

When all sing, "Oh Bob, how I love you," the kneeling child rises and 
the two embrace. When all sing "Go away, etc.," all act out the part, 
pointing and shaking finger at one child in center. On last two lines, each 
child in center chooses a player from the circle to take his or her place. 


LADY IN THE CASTLE 


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Formation: 

Form a large circle, all facing the center and moving clockwise. The 
leader moves counter clockwise outside the circle. 

Action: 

When the children sing the last line, the leader taps the first child 
on the shoulder, then a second and third child. They leave the circle and 
join hands with the leader. The game continues until all have left the 
original circle. They form a tower around the last child and sing the song 
once more, clapping their hands. 


105 















































WILLIAM PENN 



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•substitute name of child in center of ring. 

Formation: 

A large circle, all facing center and moving clockwise. One child stands 
in the center. 

Action: 

When the children sing "Tap for silver, etc.," the center child taps 


106 






















































































































three children in turn and in rhythm. The last one she touches stands in 
the center for the next round. 


THORN ROSA 



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Verse 

2. One day there came a wicked witch, 

A wicked witch, a wicked witch, 

One day there came a wicked witch, 

A wicked witch. 

4. Thorn Rosa slept one hundred years, 
One hundred years, one hundred years. 
Thorn Rosa slept one hundred years, 
One hundred years. 

6. One day there came a handsome prince, 
A handsome prince, a handsome prince, 
One day there came a handsome prince, 
A handsome prince. 


3. She cast on her an awful spell, 

An awful spell ,an awful spell, 
She cast on her an awful spell, 

An awful spell. 

5. Around her grew a mighty hedge, 

A mighty hedge, a mighty hedge, 
Around her grew a mighty hedge, 

A mighty hedge. 

7. And with his sword he chopped 
the hedge, 

He chopped the hedge, he chopped 
the hedge, 

And with his sword he chopped 
the hedge, 

He chopped the hedge. 


8. Thorn Rosa went away with him, 
Away with him, away with him, 
Thorn Rosa went away with him, 
Away with him. 


107 




































Formation: 

One child, Thorn Rosa, stands in center of circle which moves counter 
clockwise as children sing. Two other characters are chosen, the witch and 
the prince. 


Action: 

During the first stanza, Thorn Rosa remains standing in center of circle. 

2nd Stanza: The witch enters circle and walks around Thorn Rosa. 

3rd Stanza: The witch points her finger at Thorn Rosa. At the end of the 

stanza, she returns to the large circle. 

4th Stanza: Thorn Rosa closes her eyes and pretends to sleep. 

5th Stanza: Thorn Rosa is still in the center of the circle, asleep. The 
children slowly raise their arms to form a mighty hedge. 

6th Stanza: The prince gallops around the outside of the circle. 

7th Stanza: The prince knocks down the raised arms of the children. 

8th Stanza: The prince enters the circle. He dances Thorn Rosa around the 

outside of the circle. 


MUFFIN MAN 


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Formation: 

Single circle, clasped hands, two or more leaders in center. 


Directions: 

On first lines, all players dance around and sing: 

"Oh have you seen the Muffin Man 
The Muffin Man, the Muffin Man, 
Oh have you seen the Muffin Man 
That lives in Drury Lane," 




On the last two lines, players stand still; leaders advance to meet a partner 
who enters with them, clasp hands, skip around circle and sing: 

"Oh yes I've seen the Muffin Man 
The Muffin Man, the Muffin Man 
Oh yes I've seen the Muffin Man 
That lives in Drury Lane.” 


108 





























ANNIE GOES TO THE CABBAGE FIELD 


(Czechoslovakia) 





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Formation: 

Double circle facing line of direction. 

Directions and words: 

Part 1. Annie goes to the cabbage field, 

Cabbage field, cabbage field, 

Seeking there some fresh green leaves 
To feed her rabbits fine. 

Change step--around circle, beginning with outer foot, step right for¬ 
ward, bring left foot to right heel and step right forward. 

Part 2. Johnny sees her, ha, ha, ha, 

Now I’ll catch you, tra, la, la, 

Nay, nay, nay, go away 

I'll not dance with you today.i 

Face partners--clap on "ha. ha, ha" 

stamp on "tra, la, la" 

shake right forefinger threateningly at partner 

three times 

repeat same with left. 

On last line--clap partner's right hand, turn whole, stamping left, 
right, left. 

This game was originated in Czechoslovakia, and it is a great favorite 
with the younger people there. One of the diversions after church on Sundays 
is for all the people, both young and old, to meet on the "squares" and dance 


109 






































































these games. Those who are too old to dance join in the merry-making by 
singing with the players and clapping their hands in time to the music. 

"Annie Goes to the Cabbage Field" should be played with spirit, and the 
players who represent Annie should try to catch her coquettishness as she 
evades the demonstrative Johnny. 


LITTLE SISTER COME WITH ME 




Words: 

Little sister come with me; 
Both my hands I give to thee, 
Come with me 'round the ring 
As we march and as we sing. 
Come with me 'round the ring 
As we march and as we sing. 


Directions: 

Partners bow to each other 
Cross inner arms and grasp hands 
All march around in a circle 
counter-clockwise. 


With our heads we nod, nod, nod, 

With our fingers shake, shake, shake. 

Then we dance, then we sing; 

Then we gladly dance and sing. 


Halt, partners face and nod 3 times 
Shake right forefinger 3 times. 

Partners face in line of march, 

join hands and skip in circle 
counter-clockwise. 


With our feet we tap, tap, tap 
With our hands we clap, clap, clap 

Then we dance, then we sing 
Then we gladly dance and sing 


Stamp left, right, left. 

Clap. 

Partners face in line of march, 

join hands and skip in circle 
counter-clockwise. 


110 





















































OH WHERE HAS MY LITTLE DOG GONE ? 


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Formation: . . 

1. Single circle facing inward with hands clasped. The master is in 

the center. 

2. The circle moves in line of direction, sliding sideways. 

3. The master skips around the circle in the opposite direction holding 

his hand to his forehead looking for his dog. 

4. The circle halts on "be" and raises clasped hands high. The master 
also stops and the one before whom he stops is the little dog. 

5. The dog runs in or out under the clasped hands. 

6. The master must follow in the same path. If the dog is caught, he 

becomes the master and the first master joins the circle. 

7. The same master continues if he cannot catch the dog. 


Ill 














































LOOBY LOO 




At tbe beginning of the game, all join hands in a circle and skip around, 
singing. 


Verses: 

Here we go, Looby Loo, 

Here we go, Looby Light; 

Here we go, Looby Loo, 

All on a Saturday night. 

I put my right foot in, 

I take my right foot out; 

I give my right foot a shake, 
shake, shake, 

Chorus: 

And turn myself about, Oh (re¬ 
peat chorus) 

I put my left foot in, etc. 

I put my right hand in,etc. 

I put my left hand in, etc. 

I put my head 'way in, etc. 

I put my big self in, etc. 


112 




































































Action: 

2. Circle stops; hands are loosed. 

3. Put right foot forward into circle, toe touching floor. 

4. Put right foot backward outside circle, toe touching floor. 

5. Shake right foot vigorously. 

6. Turn completely around, right arm leading. 

7-10. Repeat entire action with each. 

11. Jump forward into circle. 

Hands are joined again and the circle moves to the left on the chorus, 
between each verse. 

This game is really a story, set to music, and it will add greatly to 
the fun if the leader will tell it before the playing begins. 

The Story 

There was once a little boy who always took a bath every Saturday night. 
But one night the water was cold and he objected strenuously. Because his 
mother knew that the cold bath would be good for him, she made a game of it. 
We are really playing just as the little boy and his mother did, using the 
circle to represent the tub of cold water. 


113 









Chapter VII 

CONTESTS, TOURNAMENTS, 
STUNTS, AND PUZZLES 


Stunts and Tricks 

Kite Tournaments 

Mock Track Meet 

Top Spinning Contests 

Tournaments 

Round Robin 
Single Elimination 
Ladder or Perpetual 
Triangular System 

Puzzles 


********* 


"Altogether they Puzzle me quite, 

They all seem wrong and they all seem right" 
Robert Buchanan, Fine Weather on the Digentia 


115 



STUNTS AND TRICKS 


Mental Concentration 

In order to do this trick successfully the group must be quiet and all 
must be thinking of only one thing--the trick to be accomplished. The 
trick is as follows: Four people stand about a fifth who sits in a chair in 
front of them, two beside his knees and two beside his shoulders. At the 
signal "go” the four standing inhale as they bend their knees and exhale as 
they straighten their knees. Do this three times. As the knees are 
straightened the fourth time, each person holds his breath and places his 
two index fingers under the fifth person's shoulders or knees, according 
to their positions, and lift him up. During the performance the subject to 
be lifted inhales and exhales with the group. This is a very simple trick 
to accomplish but absolute concentration is necessary. 

Double Handcuff 

Divide the group into couples and give each child a piece of string. 
Handcuff one of the children by tying an end of her string to each wrist. 
Then tie one end of her partner's string to his right wrist, loop the 
other end within her string, and tie it to his other wrist. The object of 
the game is for the partners to get apart without breaking or untying the 
string. 

The trick is accomplished by slipping the center of one of the 
strings between the wrist and the loop of string tied around the partner's 
wrist and out over the hands. 

KITE TOURNAMENTS • 

Possible Events 

100 YARD DASH (Any Style Kite) 

A measured ball of string shall be given to each contestant. Kites 
shall start on signal, shall be run out to end of string, and shall be 
wound back on a reel or other device to the hand of the flyer. An assist¬ 
ant may stand under kite in order to catch it when it falls to the ground. 
The contestant who first completes the event and returns to the starting 
line shall be declared the winner. The order of completion shall determine 
second and third places. 

STRONGEST PULLER (No Box Kites) 

Kites shall be run out to the end of the measured string. For two 
minutes the pull of the kite shall be measured by a spring scale. The 
first three places shall be awarded to the kites measuring the strongest 
pull in this length of time. Contestants shall return to the starting line 
to be judged. 

KITE ANTICS (Any Style Kite) 

Kites shall be judged on novelty of performance in the air such as 


116 


diving, tumbling, etc. Odd-shaped and grotesque kites shall be considered. 
Contestants shall return to the starting line to be judged. 

PRETTIEST KITE 

The kite which is most attractive in the air shall be judged the 

winner 

SMALLEST KITE 

The smallest kite that will fly at least 15 feet high shall be judged 

the winner. 


Roles Governing Tournament 

CONTESTANTS 

1. Girls and boys 16 years or under shall be eligible to compete. 

2. Contestants shall be allowed to enter any number of events. 

3. Each contestant shall be allowed one assistant. 

4. No contestants shall be permitted to fly kites before the tourna¬ 
ment begins. 


Kites must be made and flown by the contestant entering them. 

All kites entered in any event must fly. 

Reels or other devices for quick winding which have been made 
by the contestants shall be allowed. 

KITE HOSPITAL 

A kite hospital or repair station with material for minor repairs 
shall be established on the grounds. 

ARRANGEMENTS FOR FLYING FIELD 

The field shall be marked with three lines as follows: 

1. Boundary line back of which contestant shall not run in work¬ 
ing his kite into the air. 

2. Start and finish line (100 feet in front of boundary line) 
on which contestant shall stand at the start of the event 
and to which he shall return for judging at the conclusion 
of the event. 

3. Assistant's line (50 feet in front of the starting line) on 
which the assistant may hold the kite and project it into 
the air at the start of the event. 

AWARDS 

Points shall be given for the first three places in each event (1, 3, 
and 5, respectively). Winners of these places shall be presented with 
ribbon badges. Points made by individual contestants shall be counted for 


KITES 

1 . 

2 . 

3. 


117 


their playgrounds. The playground winning the largest number of points shall 
be awarded the City Championship. 

MOCK TRACK MEET • 


SHOT PUT 

Use a small dry sponge as shot. 


Events 


ONE HUNDRED YARD DASH 

On the end of a 36 inch length of string, tie a lump of sugar or a 
marshmallow. The object of the game is to gather the string and marshmallow 
into the mouth without the aid of the hands. 


ENDURANCE RACE 

See who can eat four plain dry soda crackers first. They must be 
sufficiently swallowed to allow the person to whistle at the finish. 

MILE WALK 

Walk 100 ft. with hobbles on. The hobbles are made by tying a rope 
loosely about the ankles of contestants. 

Kitchen Style Events 

50-YARD DASH 

Each guest or, if the crowd is large, a representative from a team is 
given an apple or potato and a paring knife. Players attempt to make as 
long a peeling as possible without breaking it. 

100-YARD DASH 

Players are given scissors and a long strip of paper. At signal each 
cuts as fast as possible down the middle of the strip. 

JAVELIN THROW 

Soda straws are thrown by the players. Person throwing straw greatest 
distance wins. 


SHOT PUT 

A wad of tissue paper or ping pong ball is thrown for distance. 
DISCUS THROW 

A paper plate is thrown for distance. 

CROSS-COUNTRY 

Spools of thread or balls of string are stretched across the room. 
Players upon receiving a signal wind up the string into a ball as speedily 
as possible. 


118 


MILE RUN 

A string is stretched taut across the room and a small paper cup is 
punctured through the bottom and threaded on the string. Players must blow 
cup from one end of string to the other quickly. 

440 RELAY 

Carrying a piece of thread, first player walks backward 20 feet to 
next player. Second player threads a needle he holds and walking backward 
carries the needle to third player, third player takes the needle and 
carries button he holds to a fourth player. This player sews button on a 
piece of cloth he holds and walks backward to the finish line. If the game 
is played in a small space, players may be seated. 

POLE VAULT 

The players use two spoons placed end to end and a drinking glass. 
Player strikes bowl of one spoon with fist causing the second to fly into 
the air. The player tries to put the spoon into the cup in this way. 
Players repeat operations as often as possible. The first person to get 
spoon in cup wins the race. 


Organization 

The group is divided into teams and captains are appointed. Each 
captain is given a list of events which does not include the details of 
the game. Each captain lines up his contestants for each event and has them 
report to the leader when their event is announced. 

The Mock Track Meet should be conducted as nearly like a regular track 
meet as possible. Exploding a blown-up paper bag at the start of races is 
a good substitute for a starting gun. A string may be stretched at the 
finish line whenever the event is suited to this procedure. 

TOP SPINNING CONTESTS $ 

Events 

DISTANCE SPIN 

The contestant throws the top from back of a line, making it spin as 
far away from him as possible. Three trials are allowed, the one in which 
the top spins furthest from the throwing line is the one that is counted. 

DURATION SPIN 

At a given signal all the players spin their tops. The person whose 
top spins the longest is the winner. Tops are timed for length of spin 
from the time they hit the ground until they roll on their sides. 

ACCURACY PUT 

Five concentric circles are drawn. The bull's-eye is one foot in 
diameter and each ring 6 inches wide, making the target 5 feet in diameter. 


119 


The circles are numbered from the outside of the bull , s-eye--l,2,3 l 4, and 5. 
Each contestant is allowed five puts and scores according to the circle in 
which his top hits. The top must spin after hitting. 

TOP DASH 

The distance for this dash is 50 feet. Contestants line up on the 
starting line and spin their tops as far ahead of them as possible. As soon 
as his top spins, the spinner picks it up and spins it again, using the last 
place of spinning as the new starting line. This process is repeated until 
the top is spun beyond the finish line. The person covering the 50 feet in 
the least time wins. 

PICK-UPS 

All pick-ups must be started by picking up a spinning top on the palm 
of the hand. Suggested variations include changing the top to index finger, 
throwing the top from one hand to the other, throwing the top up and catch¬ 
ing on the back of the hand, shifting top from finger to finger, etc. 

FANCY LOOPING CONTESTS 

Various loops which may be used are the pulling loop, the overhead 
loop, the back loop, the under the leg loop, the around the body loop, etc. 
The top is snapped up from the ground with each loop and caught with the 
hands. These loops are merely suggestions. Others may be developed. 

CHINESE SPIN 

Wind the top and place it on the ground with the point up. Put your 
left foot on the end of the cord and kick the top with the right foot. The 
top should land on the point and spin. The person first achieving this 
result wins. 

TOP KILLING 

Each contestant is given three spins with a live top serving as the 
target. If he hits the top a glancing blow and it keeps on spinning, he is 
awarded three points; if he hits a square blow and kills it (stops top from 
spinning), he is awarded five points; if he hits the top with enough force 
to split it, he is given ten points. The spinner's top must continue to 
spin or no points are scortd. 

TOP SCATTER 

Each contestant is given three spins at six dead tops which are arrarg- 
ed. in a circle within the twelve inch circle of the target. A well aimed 
spin will scatter these tops into the adjoining circles. The values of 
these circles into which the tops are knocked are credited to the spinner 
if his own top continues to spin after the strike. If the spinner's top 
strikes the line of a circle or any of the five dead tops stop on the line 
of a circle, the point value of the circle worth the most points is awarded. 


120 


SPIKING 

The contestant shall wind the string on his top and with one hand shall 
attempt to spike his opponent's tops out of a 12-inch circle. 

TOURNAMENTS © 

Round Robin 

In organizing Round Robin Tournaments, the plan of competing teams or 
individuals playing one another once, twice, or even a third time is easily 
followed. If there is an odd number of teams, the schedule for the next 
larger league with an even number of teams should be used, omitting the 
games scheduled for the highest numbered team. For example, schedules for a 
4,5, or 6 team league is given below: 


1 - 

2 

1 - 

4 

1 - 2 



4 - 

3 

2 - 

3 

4 - 3 


4 team league (one round) 

Bye 

1 

Bye 1 

Bye 5 

Bye 3 Bye 2 


5 - 

2 

5 - 

2 

3 - 4 

2-5 1-3 


4 - 

3 

4 - 

3 

2 - 1 

1-4 4-3 

5 team league (one round) 

1 - 

2 

1 - 

6 

1 - 5 

1-4 1-3 


6 - 

3 

5 - 

2 

4 - 6 

3-5 2-4 


5 - 

4 

4 - 

3 

3 - 2 

2-6 6-5 

6 team league (one round) 


The 

winner 

of a Round 

Robin Tournament 

is the team or person who has 


won the largest percentage of games played in the league schedule. The 
percentage is determined by deviding the number of games won by the number 
of games played. 


Single Elimination Tournament 

The Single Elimination Tournament plan is used if so many teams or 
individuals are competing that it would be impractical for each team to 
play every other. A bracket is drawn up, and teams or individuals are 
paired off. In each round the winners go on into the next round, and the 
losers are eliminated. 

When there is time for only one round of play, the winner may be 
determined by holding a seperate elimination tournament among the top three 
teams. This gives the second and third teams one more chance for the cham¬ 
pionship. 

If the number of competitors is not a perfect power of two, there shall 
be byes in the first round. In order to determine the number of byes, sub¬ 
tract the number of competitors from the next highest power of two. 

For example, if 11 equals the number of players competing, 12 will 
equal the next highest power of two. Therefore, 12 minus 11 equals one bye 
in the first round. 


121 


Seven Player Diagram 


John 


Mike 

John 

Russell 

Russell 

Bye 


Jack 


Bill 

Bill 

Fred 


Sam 

Sam 

quarter¬ 

semi¬ 

finals 

finals 


John 

John 

Sam 


finals championship 


Ladder or Perpetual Tournament 

The Ladder or Perpetual Tournament is practical for tennis, handball, 
horseshoes, and similar games. The players are so arranged that the best 
players are at the top of the list. Anyone may challenge any of the three 
people ahead of him. If the challenger defeats that person, he takes his 
place. The vanquished drops back to the place of the challenger. This 
maintains a steady interest in the various playground activities. The per¬ 
son at the top of the ladder at the eod of a specified period is declared 
the champion. 

For example if the list or ladder were arranged in this order--l. Mary, 

2. Helen, 3. Kate, 4. Sylvia, 5. Ann, 6. Margaret, 7. Marie, and 8. Rose, 
the changes would take place in the following manner: 

Rose would challenge Ann. If Rose defeated Ann, she would become 
member 5, and Ann would move down to number 8, which was Rose's former 
position. Next Rose might challenge Helen. If she defeats Helen, Rose then 
moves up the ladder to become member 2. Helen, in turn, moves down to 
become number 5. The defeated player always falls back to her competitor's 
former position on the ladder. 

Throat sticks, such as doctors use, may form the ladder. Each contest¬ 
ant's name is lettered on a stick, and each stick is bung upon a small hook 
in their current order. 


Triangular System 

The Triangular System is even more adaptable than the other plans men¬ 
tioned in this chapter. If five members form the base line, three the 
second tier, two on the next, and one on the top, two or even three contes¬ 
tants on the base line could challenge the three on the next tier which 
would hasten the outcome of the tournament. The fact that many people 


122 





participate is an added inducement to play, and this system often results 
in more enthusiastic players and a more exciting tournament. 

Small round tags may be used to keep the records in order. At the end 
of a specified time, single elimination tournaments may be arranged among 
the top three players to determine the champion. 

Eleven Player Diagram 


John 


Henry 


Joseph 


Harry 

Michael 


Steve 

Robert Edward 

Fred 

Lesl ie 

Stanley 


PUZZLES • 

Ten Matches 

Place ten matches in a row. In five moves rearrange the matches into 
five pairs by jumping one match at a time over two matches. 

Solution 

Number the matches from 1 - -10. Then arrange as follows: 

1. Jump #4 to the left and cross over #1. 

2. Move #6 to the right and cross over #9. 

3. Jump #8 to left and cross over #3. 

4. Jump #2 to the right and cross over #5. 

5. Jump #7 to the right and cross over #10. 

(Crossed matches count as two matches) 

Match Puzzle 

Twelve matches are used in this figure. Can you, after adding two 
matches only, rearrange them so that five diamonds result instead of four? 














A Simple Match Trick 

Can you form 4 equal squares with 8 matches? It is easily done. 



Cut a small hole and two parallel slits in a piece of cardboard in the 
manner shown in the illustration. Pass a piece of string under the slit and 
pull the ends of the string down through the hole. Then tie two buttons to 
the ends of the string. Can you release the string without removing either 
of the buttons or enlarging the hole? 



Solution: Fold over and push the strip, made by slitting the paper, 
partially through the bole. Release string in this manner. 







A Brain Teaser 

Can you arrange the 9 bottle caps in such a manner that you will have 
10 rows with 3 caps in each row? 



Solution 


125 









I 


* 













Chapter VIII 
NATURE STUDY 


General Plan 

Suggested Nature Projects 
Miniature Farms 

Miniature Gardens and Dish Gardens 

Flower Arrangement 

An Animal Adventure 

Terrariums 

Aquariums 

Nature Circus 

Construction of an Ant House 
Singing Insects 


Clouds 
Butterflies 
Making Leaf Prints 
Nature Games 
Nature Clubs 


To him who in the love of Nature holds 
Communion with her visible forms, she speaks 
A various language; for his gayer hours 
She has a voice of gladness, and a smile 
And eloquence of beauty, and she glides 
Into his darker musings, with a mild 
And healing sympathy, that steals away 
Their sharpness, ere he is aware. 

William Cullen Bryant, Thanatopsis 


127 




GENERAL PLAN 




1. Set aside a definite time and place each day for nature study. 

2. Make use of nature games and stories; the children like them. 

3. Secure as much material on the subject as you can. Free or inex¬ 
pensive publications containing authentic nature material should 
be obtained. Among these are government pamphlets and publica¬ 
tions issued by nature societies, museums of natural history, etc. 
Also, make full use of the libraries. 

4. Coordinate your nature study and handcraft programs by making ink 
prints, spatter prints, and blueprints of leaves and plaster casts 
of leaves or footprints. Sketch nature objects and use them for 
craft designs. 

5. Leave the playground occasionally to take the children on a nature 
hike. You should make arrangements in advance with your superinten¬ 
dent. 

6. Encourage the children to make nature collections of their own. 

These may be of insects, rocks, leaves, twigs, fruits or seeds. 

7. Be interested and enthusiastic about the subject yourself. Others 
will share your feeling. 

SUGGESTED NATURE PROJECTS # 


Miniature Farms 

A project that combines nature study and handcraft is the making of a 
miniature farm from moss. A trip to the woods yields many varieties of 
moss, which, combined in a pattern, look amazingly like the patch-work-quilt 
effects of distant fields. Some of the mosses resemble tiny fields of 
wheat; others resemble rye or corn. Big feathery ones look like sections 
of woodland. 

In order to make the moss farm get a large, shallow, glass dish or a 
large, tin, candy box or some other waterproof receptacle. Put in a layer 
of dirt. Then fit in your pattern of squares of moss, making little rol¬ 
ling hills. Inch-high seedlings may be planted to represent tall trees. 

Make the house, barn, and sheds of tiny blocks of wood, following the 
architecture of your locality in shaping roofs, etc. Paint the buildings 
and set them in the farm. A white house with green doors, windows, and roof 
is typically American. So is a red barn. Or you may prefer other colors. 

A piece of broken mirror makes a realistic pond. If the mosses are watered 
they will stay fresh for weeks. 

As you make the farm, you may find it interesting to study and classify 
the various types of mosses. 


128 



Miniature Gardens and Disb Gardens 

Leaders planning to work on miniature and dish gardens should not over¬ 
look the opportunity of interesting their groups in the art of gardening. 

The public library has a collection of beautifully illustrated books about 
the gardens of all countries and periods. If a group decides to make a 
miniature Chinese garden, for instance, the children should steep themselves 
in the art of the Chinese, study their designs, their garden architecture, 
their ideas of color. The garden need not be an imitation of a specific 
garden; but if an imaginative Chinese garden is worked on, the imagination 
should be guided and stimulated by everything related to Chinese gardening 
that the group can find in the library or museum. Everything they can learn 
from Chinese acquaintances or people familiar with China would also be 
valuable. 

At the public library illustrations of medieval walled gardens, wattle- 
fenced gardens, castle gardens, and monastery gardens, may be found. Pic¬ 
tures of the gardens of England with their clipped hedges; the paved gardens 
of Hamburg; and Spanish gardens with mosaic fountains, lovely stairs, and 
balconies may be reproduced. 

Plants, seedlings, dwarf flowers, the tops of vegetables, (such as beets 
and carrots) and grasses may be used in these gardens. Little figures of 
carved wood or modeled clay can be made or bought very inexpensively. 

Water Gardens 

Water gardens may be planted in small glass bowls, in fish bowls, in 
bottles, or in vases. To be most effective they should be placed in a win¬ 
dow or where a light can shine through. Submarine gardens in small glass 
tanks, including plants that thrive in or under water, may be made more in¬ 
teresting by adding shells, pebbles, and small tropical fish. 


129 









Flower Arrangement 

Cut flowers, sprays of leaves, pussy willows, and branches of pine or 
spruce are suggested for indoor arrangements. 

Sprays of flowering shrubs and trees may be cut for forcing. If they 
are kept in water in a sunny window, they will blossom in a few weeks. 
Spraying with water will help the buds to open. Flowers may be arranged in 
vases, baskets, bottles, jars, boxes, flat bowls, and basins. 

Books on flower arrangement, especially those of the Japanese, may open 
a whole vista of study to boys and girls whose one idea of flower arrangement 
has been a bouquet massed together in such a manner that the natural line 
and grace of the flowers are lost. 

JUDGING 

The units will be judged on the following points: 

1. Appropriateness 40 per cent 

2. Attractiveness 30 per cent 

3. Ingenuity 30 per cent 

An Animal Adventure 

If you want a really lively nature meeting, bring a pet dog and a pet 
cat to the meeting and have fun finding out some of the things you never 
knew or noticed about dogs and cats before. (Better choose rather gentle 
animals that will get on well together and do not mind being handled by 
people or your meeting may prove too lively.) 

First, cover the animal's eyes and let everyone guess the shape of their 
pupils. Then uncover them and find out the true shape. Take the cat 
into a dark corner to see whether or not the pupil changes shape. 

Sketch a dog's pupil and a cat’s pupil as they appear in bright light and 
then as they appear in the dark. 

Pet cats and dogs are fed prepared food, but wild members of the cat 
tribe (lions, tigers, leopards, bob cats) and wild members of the dog tribe 
(foxes, wolves, coyotes) must secure their own food. Do you know how they 
do it? Both animals are meat eaters. 

All members of the cat tribe stalk their prey on silent feet or spring 
upon them from ambush and catch them with needle-sharp claws. Silence and 
sharpness are important; to keep the claws silent and sharp they are with¬ 
drawn into little pockets in the toes. Locate the pockets. Do you ever 
see the claw marks in a cat’s track in mud or dust? Place the cat in a box 
of soft earth and examine the track it makes. What is a dog's track like? 

Do the claws show? Sketch the tracks. 

Members of the dog tribe run down their prey in the open and catch them 
with their teeth. There is no need for silence; the prey can see the dog. 

Nor is there need for sharp claws since the teeth do the catching. How¬ 
ever, a dog does need good heavy blunt claws to save wear and tear on his 
toes and foot pads. 


130 


Notice the difference in the shape of the heads. The cat's bead is 
round. The dog's muzzle extends well out in front as if lengthened by 
millions of years of reaching for its victims. Draw a profile of each 

animal. 

Does either the dog or the cat walk flat-footed as you do? Find the 
heels on all the feet. (You'll be surprised!) The first primitive animals 
had five toes on all their feet and walked flat on the soles, as the slower 
moving groups cf animals do today. A swift pace causes the animal to move 
on the toes. The swiftest groups do not even use all their toes. For this 
reason, some of the toes of certain animals have disappeared entirely or 
become small and useless. Count the toes of a cat’s front foot and of its 
hind foot. Do the same with the dog. Can you find any toes that are use¬ 
less? Are there any that have disappeared on the outside but that have left 
a lump you can feel on the bone? 

Can you manage to count the teeth of a cat? Of a dog? How many have 
you yourself? Are your teeth as well suited for tearing meat off bones as 
a dog's or cat's? Are you surprised to find there are many things about 
your pets you've never noticed before? 

NOTE: This animal adventure was adapted from one prepared for the Girl 
Scouts by Mrs. Elizabeth H. Price, Field Nature Specialist. 

Terrariums 

REASONS FOR 

The study of living plants and animals is an important part of every 
course in nature study, and the terrarium or "garden under glass" provides 
a place where wild and cultivated plants can be grown successfully the year 
around, and where many kinds of animals can be housed. A terrarium is an 
attractive and interesting thing to have in the home, the school, the sum¬ 
mer camp, or the playground. 

TYPES OF TERRARIUM 

The simplest type of terrarium may be made by placing some soil, on 
which there is sod, in a large flower pot. On the sod place a lantern or 
lamp chimney over which is thrown a piece of cheesecloth to keep the insects 
from jumping or flying out. The soil should be kept slightly moist. 

One type is made from a baking pan which has been given two or three 
coats of dark green or brown paint. A light frame of wood with grooves in¬ 
side for holding the four sides of glass is fitted to the pan. Another 
piece of glass is laid on top for a cover. 

A larger terrarium can be made from boxes. The top of the box is 
covered with a fine wire netting or cheesecloth. A more elaborate version 
can be made by putting pieces of glass into the sides of a wooden box or 
berry crate. The top is covered in the manner previously mentioned. 

An all-glass terrarium may be made by cementing the edges of glass 


131 


together with Mar-Mora cement. There should be a removable glass cover. 

Aquarium tanks, fish bowls, jars, and glass globes may also be adapted 
to use as terrariums. However, straight-sided tanks are the most satisfac¬ 
tory because thej T are easier to plant and care for. Plants and animals are 
not distorted by the curved glass sides. Terrarium tanks of several sizes 
can be purchased ready made also. 

Large or small terrarium cases may be constructed with pieces of glass 
and a roll of adhesive or slide tape. Cut the glass in four equal squares 
of the desired but manageable size. Two of the squares may be again cut 
in two, making four equal rectangular pieces which will be used for the 
sides of the case and two square pieces to form the top and bottom. The 
four rectangular pieces are taped together along their sides and the bottom 
is then taped to the sides. Then the top is taped along one side to form 
the cover. Aquarium cement may be used along the inside joints to make the 
case waterproof. A coat of paint or shellac over the tape helps to keep it 
in place. A shallow pan can be used for the base; this is especially rec¬ 
ommended if the terrarium is large. The sides and ends should be taped 
together and then set into the pan. 

PROCEDURE 

The simplest terrariums contain merely moist earth upon which there 
is sod. However, for the more permanent types and those in which a variety 
of plants and animals will be housed, a more careful foundation should be 
built up. One half to two inches of clean gravel or brown sand and bits of 
charcoal should be placed in the bottom of the container for drainage. The 
charcoal also acts as a deodorant. On top of this is spread a mixture of 
good garden soil, preferably leaf mold and peat moss. Now the general plan 
for the garden should be developed; the soil should be built up in places 
to form hills, leveled off in others, and dipped down to form valleys. 

Many ideas can be derived from nature for placing small rocks and ledges, 
moss-covered logs, and woodland pools. The appearance of the terrarium is 
improved by lining the space between the glass and the soil with moss. The 
green side is turned toward the glass. 

After the general terrain plan has been established, it is easy to place 
the tiny mosses and ferns in soil pockets on the rocks in a naturalistic fashion. 
Mosses, club mosses, small ferns and tiny seedling trees, preferably evergreen 
varieties, all serve as excellent material for the wild garden. A small pool 
may be included in the garden, placed well down in the soil and edged with 
rocks. Dishes, jar covers, enamel pans and molded cement pools make good 
water containers. Small pebbles and water plants may be added to the pool. 

When the garden has been planted, wet it down well with a spray bulb 
and replace the cover to prevent evaporation and preserve a more even tem¬ 
perature. One watering every month or two will generally suffice, since the 
evaporation and condensation within the container regulates the water supply. 
When the plants in the garden take on a dry appearance and the condensation 


132 


on the glass is very slight, it is time to spray thoroughly. The cover 
should fit loosely enough to allow air to get into the terrarium, but the 
glass may be lifted for a few minutes each day. Most plants suitable for 
life in a terrarium need good light but not direct sunlight, and should never 
be kept in a very warm place. A northern exposure is best if possible. Too 
much moisture is undesirable because it favors the growth of molds and bac¬ 
teria that cause decay. If mold forms on the leaves spray the garden with a 
little powdered sulphur. 

Harmless wild life may be placed in the terrarium with the plants. 

Even small, harmless snakes are often kept in them. Insects may be kept 
indefinitely provided they are supplied with their favorite leaves to feed 
upon. The smaller terrariums are ideal for rearing insects while the larger 
ones are well suited to presenting growing plant associations representing 
various conditions encountered in nature such as the desert, the bog, the 
woodland, etc. 


PLANT LIFE 

It is sometimes difficult for the city dweller to obtain wild plants 
for inclusion in a terrarium. Many cultivated plants, which can easily be 
obtained from nurseries, flower shops, department stores, and ten cent 
stores, are suited to this use. Small plants or slips of any of the follow¬ 
ing may be used: 

Coleus German ivy 

Dracena Philodendron 

Baby’s tears Seedling palms 

Boston fern Begonia 

Asparagus Croton 

Clerodendron Vinca 

African violet 
Geranium 
Primrose 


Small-leaved English ivy 

Wandering-jew 

Selaginella 

Peperomia 

Fittonia 

Creeping thyme 

Climbing fig 

Saxifrage 

Smilax 


If wild plants can be obtained the following are suitable: 

wild flower plants seedling trees 

violets club mosses 

grasses vines 

mosses small ferns 


ANIMAL LIFE 

Animal inhabitants of the larger terrarium many include frogs, toads, 
salamanders, and turtles. Since these animals are cannibalistic, large 
specimens should not be kept with small ones. Toads will eat insects and 
pieces of worms, so do not keep them in a terrarium in which insects are to 
be observed. Do not keep animals in a terrarium for more than two or three 
weeks and be sure they are properly fed. Bring in specimens for study, 
handle them gently, and let them go as soon as possible. They should be 
returned to their natural surroundings when freed. 


133 


INSECT LIFE 

The smaller terrariums are ideal for the study of insect life. Grass¬ 
hoppers and crickets can be fed pieces of fruit and grass. Caterpillars will 
eat the leaves of the plant on which they are found. If caterpillars make 
cocoons or chrysalides, they will hatch out next spring. Cocoons or 
chrysalides that are found may be put into the terrarium and kept slightly 
moist until the moth or butterfly comes out. Insects must eat and some one 
child should be responsible for providing captured specimens with proper 
food. 


Diagrams for terrariums 





134 












































Aquariums 

Any type of glass container such as tumblers, fruit jars, glass dishes, 
fish bowls, or manufactured glass cases may be used as aquariums. Place an 
inch of clean sand in the bottom of the aquarium. Clean the sand by putting 
it into a piece of cloth and washing out all the dirt. If sand cannot be 
found, use small pebbles. In all aquariums there must be a few strands of 
water weeds. (Any water plant whose narrow leaves grow under the water.) 
Secure the roots with the plant if possible. Plant them in the sand. Fill 
the jar with pond, river, or lake water if it is easy to secure; otherwise 
city water will be satisfactory. Have at least one stone come to within an 
inch of the surface of the water. Some creatures must have shallow water in 
which to live. 

If toad's or frog's eggs are to be hatched, put some slime--a slimy 
covered stone, leaf, or stick from a pond--into the aquarium for tadpole 
feeding. Do not overcrowd the aquarium with water life. Twenty tadpoles, 
a dozen water snails to keep the water and glass clean, a small frog, one 
small fish, and a few water bugs are sufficient for two gallons of water. A 
few bread crumbs every other day, one or two live insects, and an earthworm 
or a small bit of meat is sufficient for the frog and fish. To feed turtles, 
tie a piece of raw meat to a string and hang it in the aquarium for an hour; 
then remove it. Only one child at a time should be responsible for the 
feeding of the aquarium life. Overfeeding is worse than underfeeding. 

Do not place the aquarium where it will receive much direct sunlight. 

If there is a balance of plant and animal life in the aquarium, the water 
need not be changed. However, if the water becomes cloudy or greenish, 
change it. Do not put the hands into the aquarium to remove old food or 
dead specimens. Bacteria are likely to grow, unless a long-handled spoon or 
dip net is used. 


Nature Circus 

BEHIND AN ARTHROPOD CIRCUS 

"Right this way, ladies and gentlemen to see the most amazing aggrega¬ 
tion of jointed-legged invertebrate acrobats ever to be assembled under one 
blue tent. Three rings and a dozen sideshows! Cricket orchestras and grass¬ 
hopper bands! See Walking Stick, the thinnest living skeleton; the wooly 
brown bears, the voracious Tiger Beetles! Step right up! Tickets please!" 

So shouts the spieler at an arthropod circus. 

BIG GAME HUNTING 

Like most circuses there is much more behind the spieler than mere 
cages and wild animals. There have been big game hunts afield by children 
interested in nature--children who discovered a host of insects, spiders, 
and other jointed-leggers they had never noticed before. They learned to 
look for these creatures under rocks, inside the bark of dying or dead 
trees, under logs, on plant stems, and in pools and streams. In fact, if 
they had not turned back the stones and logs, the woods would have looked 


135 


like a rifled room after their passing and many insects would have had to 
find a new home. 

Rather than stepping on every jointed-legger they found, these children 
stopped to look at it. Do aphids' beads all point in the same direction when 
they are feeding? Do bees have sacks for pollen on their back legs? Some 
do. They watched flies cleaning themselves and dragon flies laying eggs on 
a pond. All hikes soon became big game hunts, and the group was keenly alert 
to see what grotesque or peculiarly adapted arthropods could be found and 
what their peculiarities were. 

BRING 'EM BACK ALIVE 

Because your group can not stay all day to watch a colony of ants or 
return to watch a caterpillar when it changes its skin, "Bring ’em back alive 
to the playground" becomes the order of the day. That means you must go 
armed--not with big game guns--but with jars, boxes, dip nets, and butterfly 
nets. Mayonnaise or quart jars are used for imprisoning water insects. 

The boxes should be cardboard of various sizes with air holes punched in 

them. The nets are simple to make, and there should be many so that the 

children will not have to wait long for their turn. 

If you make your own nets, use bamboo poles or other light wood. The 
butterfly nets should be about three feet long, and the dip nets should be 
one or two in length. Heavy wire, mosquito netting, or an old lace curtain 
will provide the net. Use heavy gauze for dip nets. Make them as shown in 
the diagram. 

To use the butterfly net, swing it at the insect; and once it has 
entered the bag. turn the pole over so that the opening is closed by the 
bag crossing it. Sweeping the net across plant tops will often capture a 
number of seldom-noticed insects as they fly up to escape. 

When you have found a caterpillar, notice the type of leaf it is on, 

and do not take it unless you are sure you can find similar leaves with 

which to feed it near home. Water insects thrive in captivity if you take 
considerable pond or stream water, some of the water plants and sticks, and 
leaves from the bottom with them. Of course you may not be able to go far 
afield for all your big game hunts. A vacant lot, a friendly neighbor's 
yard (to be explored with care), a park, or plantings along sidewalks yield 
a variety of "game". 


136 


CAGES AND CARE 

Once the "wild animals" are brought to the playground, they must be 
put in comfortable cages as soon as possible. Some of the practical types 
are shown in the diagram. They are all easy to make. If cellophane cannot 
be obtained for use in the caterpillar cage, mosquito netting may be used 
over the whole front opening. Keep a cover of some sort, such as mosquito 



WATER 

INSECTS 


CATERPILLAR CAGE 

netting, over mosquito larvae azuaria so that adults will not escape. Put 
water plants in all aquariums for they give off oxygen which is used by the 
insects. Do not put the cages in direct sunlight. 

PLEASE DO NOT FEED THE ANIMALS 

Definite responsibility should be given to various members of the group 
for feeding the captives. Here are a few diets of common insects. 

Caterpillars: Feed caterpillars the same kind of leaves as those on 
which you found them. If a twig of leaves is poked through a cardboard disc 
collar and is then set in a small glass jar of water, the leaves will keep 
fresh for a long time. The collar will keep the animal from falling into the 
water. Single leaves wither quickly and for this reason will not be eaten. 
Keep an ample supply of good leaves in the box, for caterpillars require con¬ 
siderable food. 

Mosquito larvae and water insects: Put some leaves, twigs, water 
plants, and water from the pond where you obtained these insects into their 
cage. Some may be meat eaters (not the mosquito larvae), therefore tie a 
small piece of meat to a string and let it dangle in the water for a day. 

Then remove it so that its spoiling will not foul the water, and put in a 
fresh piece. 

Crickets: Melon rind, apples, bananas, and other fruit will keep the 
crickets well fed. 

Spiders: Flies and other insects form the diet of spiders. Do they 
eat them "skin and bones," or do they "suck them dry?" 


137 


























IZ24'' 


DIP NET 



MET 

BAG 


Flies: Flies will eat almost anything. Meat is especially welcome. 
Try a number of things to see just what they do like. 

Bees: Honey 

Butterflies: Sugar and water or honey. 

Facts About the Arthropods 


INSECTS IN GENERAL 

Insects have a fascinating life history. Most of them are laid as 
eggs; hatch into larvae, in which stage they are commonly known as 
caterpillars, maggots, worms, or grubs; pass through a pupa or resting 
stage (moths in a cocoon and butterflies in a chrysalis); and emerge later 
as adult, six-legged animals which lay eggs. Some of these cycles require 
a year, some only a few weeks. Certain insects (dragon flies, crickets, 
grasshoppers and true bogs) do not have a pupa stage, and the larva does 
not differ greatly from the adult. Many insects breathe through pores in 
the side of the abdomen. Their ears may be on their "front elbows," in 
their abdomens, or in other strange places. What seem to be two big eyes 
in flies, grasshoppers, and many other insects are really thousands of eyes 
close together. Three simple, single eyes are also found near the top of 
the head. It is not surprising that they are difficult to catch. 

COMMON INSECTS 

Dragon Flies: These flies are often called "Devil's Darning Needle," 
but they are entirely harmless. Flies and mosquitoes are their food. They 
lay their eggs in the water, as they skim over it or dip down from a plant 
stem. 


138 























Aphids or Plant Lice: These are common on roses and other plants. 
Look at them closely. See how they eat. Do their heads all point in the 
same direction? Do ants really care for them and cause them to secrete a 
honey dew drop by stroking with their antenna? Do ants eat this drop? 

Ladybird Beetles: The beetles feed on plant lice or aphids. Do they 
piay possum when you touch them? How long do they play dead, if they do? 

Mosquitoes: Only the female mosquito "sings" and "bites". The eggs 
are laid on minute rafts, like tiny cartridges on end fastened together. 
Look in a stagnant pool for them. You will see the larva and pupa stage. 
The wrigglers or larvae breathe through their "tails" at the surface. They 
swim tail first in jerks and feed on decaying vegetation in the water. 

Raise a few mosquitoes. 

Flies: We hear that flies are dirty. They are because of the germs 
carried on their feet, but each fly is meticulous about its grooming. 

Watch a fly clean itself. How does it eat? Why is it so hard to catch? 
Observe the eyes with a hand lens. 

Ants: Look for ants under a stone. Do ants try to save themselves or 
the wheat-grain*like grubs or larvae? The eggs of ants are the size of a 
pin point. The king and queen ants have wings. Beside these there are 
workers and laying females. If you find brown and black ants in the same 
nest, the blacks are slaves captured in a war or in a raid on the larvae or 
eggs of another nest. Look under the bark of dead trees for big black 
carpenter ants. What kinds of food do ants bring in? 

Bees: Watch bees at work. Get The Story of the Busy Little Bee published 
by Rand McNally and sold by the ten cent stores. It describes the habits 
of the bees. 

Crickets: Catch two black crickets--one (the female) with a long 
spike (ovipositor) out behind, and the other (the male) without the spike. 
Keep them in a cricket house. (See diagram.) Can you tell how they make 
their song? 

Butterflies and Moths: What is the difference between the moth and 
butterfly?' How do they eat? 

Spiders: Spiders are not insects. They have two more legs than the 
insects, but they are "jointed-leggers" and interesting to watch. How many 
kinds of web can you find? There are five types. 

BACK TO THE CIRCUS 

But back to the "circus", the climax of a period of study, observa¬ 
tion, and exploring for wild live arthropods. Nothing "pinned down" and 
"dead" will satisfy big game hunters. However the "watching of living 
things live" climaxed by.a circus having decorated cages to represent 
circus cages, strange names made up from the real ones, and all the most 
fascinating things discovered about each "beast" told off by a spieler or 
written on cards for the public to read provides a real thrill. There is 
no need to embroider fanciful tales about these animals. It will be hard 
enough for some to accept truths, such as the care and "milking" of aphids 
by ants and ants’ slave-making habits. 


139 


OTHER POSSIBILITIES 

To carry the jointed-legged activity further, these animals may be 
drawn during different periods of development, life cycles may be recorded, 
and essays or poems may be written. The shapes of arthropods and their 
markings are excellent sources for designs. There are stories to read and 
tell, collections to make, additional "zoo" accommodations to build. 

HELPFUL PUBLICATIONS 

School Nature League Bulletins School Nature League, American Museum of 
Natural History, New York, five cents apiece. 

Many bulletins about insects and other arthropods are available. 
See National Recreation Association Bulletin Service, Bulletin 
No. 3793, or write the School Nature League for a list. 

Butterflies of America by Lillian D. Fazzini, Whitman Publishing 
Company, Racine, Wisconsin, ten cents apiece. 

Sixty-four colored pictures of moths and butterflies and a 
description of each. Includes picture of the plant the caterpillar 
feeds on. Often found in ten cent stores. 

The Book of Wild Pets by Clifford B. Moore, G.P. Putnam's Sons, New 
York, $5.00. 

Explicit directions for caging and caring for all kinds of 
animals, including many kinds of arthropods. Try obtaining it in 
your library if you cannot buy this book. 

Handbook of Nature Study by Anna B. Comstock, Slingerland-Comstock 
Company, Ithaca, New York, $1.00. 

A valuable book for the habits and life history of common in¬ 
sects. 

Field Book of Insects by Frank E. Lutz, G.P. Putnam’s Sons, New York, 
$3.50. 

A standard book for field identification of insects. 

Field Book of Ponds and Streams by Anne H. Morgan, G.P. Putnam's Sons, 
New York, $3.50. 

You will find water insects listed in this publication. 

Construction of an Ant House 

Many kinds of insects can be studied but none is more interesting than 
a busy community of ants. They will thrive for long'periods of time and 
require relatively little care. 

Artificial containers for ant colonies are entirely practical. The 
nest should be so constructed that the ants can be seen at any time. It 
is not difficult to make a nest that will be serviceable for the housing of 


140 


the ant colony. This nest should be shallow enough to allow direct observa¬ 
tion of most activities. For that reason, it may consist of two or three 
compartments which communicate by tunnel. It should also be provided with a 
snug fitting cover to prevent escape. 

The Fielde observation nest is very satisfactory. It is usually made 
of Portland cement and "Torpedo" sand. The nest is cast in a single piece 
to render it waterproof. A piece of glass is fitted securely over each half 
of the nest to confine the ants but at the same time allow sufficient air to 
enter. To darken the nest, a thin piece of cardboard or a strip of aluminum 
is placed over the glass. This can be removed when observations are to be 
made. The cover glass plates are removed at feeding time. A cover of red 
glass is often placed over one of the small chambers, for the ants behave 
under this glass as if they were in total darkness and can be observed in 
normal pursuits. The Fielde type of observation nest can also be made cf 
wood in the borne workshop. 

Measurements for a wooden box nest should be approximately two feet by 
one foot. An opening in the top of the box for the glass cover should be 
15 to 18 inches in length, allowing a one inch margin on three sides. The 
box should be shallow--about three or four inches high. The water chamber, 
to the left of the insect chamber, should be constructed with a top piece 
covering the entire width and back up to within six inches of the length of 
the box. At this point an aperture, measuring five by two and one-half 
inches, should be cut out. 

Another simple type of nest and one which any boy or girl can make is 
the formicary. It consists of two sheets of glass, five by eight inches. 

These are used for the top and the bottom of the nest box. Several small 
pieces of glass are cut in strips, one-quarter of an inch wide. These are 
cemented around the edges, except for a small space a quarter of an inch 
wide, which is left open at one end. Fine sifted earth is put into the 
tray level with the strips. When this has been done, more cement is spread 
upon the exposed surfaces of the strips, a small space is cleared in the 
center of the earth, a colony of ants is dumped in, and the other sheet of 
glass is quickly pressed down upon the cemented strips. This forms a 
shallow glass hive which is transparent on both sides. 

The edges of the hive must now be firmly bound with gummed paper, and 
the entrance hole closed with it. The entire hive should be put away in a 
dark closet for a few days. When the ants have settled down, the hive may 
be brought out and set upon an inverted glass bowl which is stood in the 
center of a tray of water. The glass top of the hive is then covered with 
cardboard to keep it dark. The insects dislike daylight in the nest if it 
is at all bright; after a few weeks however, they become accustomed to sub¬ 
dued light. Then they may be observed for long periods without disturbing 
them. The placing of a binocular microscope on top of the hive will aid 
observation. With such an outfit, the most intimate actions of the colony 
may be seen. 


141 


Success is best achieved by using small colonies of little ants. They 
may be found under stones, and it is essential that the queen be secured 
along with the nest. The colony will cease work in a few days without the 
queen in their midst. The queen is recognizable because of her much greater 
size. Her sole occupation is egg-laying. She is tenderly cared for by the 
workers and is often fed by them. She probably receives the rarest morsels 
of the food secured. It is adviseable to drop a little water in the entrance 
every two days by means of a medicine dropper. This will prevent the earth 
from becoming too dry. Much water should be avoided so that the nest will 
not fog when placed in the sun. They may be fed dead insects, bread, bits 
of meat, or any other thing that appeals to them. 

In an ant hive, containing one of these small colonies, about two 
months are required to bring a brood to maturity. About five days before 
the larvae are transformed into pupae, they become white or a yellowish 
white due to the complete excretion of all waste matter that was in their 
bodies. The old ants stop feeding them; in some species a silken cocoon 
is made by the larvae. When these become full-fledged members of the ant 
world, they in turn help with the rearing of the next brood. 



Plaster of Paris Vivarium, for ground-inhabiting larvae and 
ants. The small chamber for water, to one side of the in¬ 
sect chamber, permits a humid atmosphere to be maintained. 

The glass top is removable. Modification of Fielde nest 
box. 

Among North American ants, those which build mounds make excellent sub¬ 
jects for the observation nests. They are of convenient size, and are con¬ 
sidered to be the most intelligent of the Formidoida family. 


142 



































The collector should provide himself with a trowel or small shovel, a muslin 
cloth about a yard square, a pair of forceps, and some string. The ant 
mounds are generally to be found on the slopes of hills, in grassy meadows, 
or in shaded glades. Some nests are located under logs and stones. 

To open a mound dig around it in a circle about 14 inches in diameter 
with the spade. After prying it up somewhat with the spade, the hardened 
top disc can be lifted back exposing the next construction. Try to follow 
the structure of the galleries when digging down further, since most of the 
ants will be found massed in the enlarged chambers. Avoid taking too many 
workers, unless you wish to stock several nests. After placing the earth 
containing workers on the center of the cloth, catch up the corners and tie 
it tightly into a bag. When digging watch for the wingless (fertilized) 
queen. In most of the species, this individual is larger and shinier than the 
workers. Also try to get a quantity of eggs, larvae, and pupae. After 
finishing your excavating, making your observations, and taking notes re¬ 
place as much of the earth as possible; then replace the top disc. This will 
help reestablish the nest. 

The best time of the year to hunt ants is from late July to early 
September, for the winged males and females are usually present in the nests 
then. Due to temperature and other factors, the ant species differ in the 
time of their mating flights; most of them occur in August in the northern 
part of the United States. At this time, the winged individuals swarm up 
into the sunshine, and the young queens are fertilized in flight. Shortly 
after return the males die, but the females lose their wings, and go into 
the nest. A few of them survive the winter by digging deep into the ground. 
In the spring the first batch of eggs develop into small workers; these 
take up the excavating work. The queen now specializes in egg-laying, and 
lives a subterranean existence. In this way a colony begins. 

Singing Insects 

The insect music swelling through field and wood during the summer is 
not just a blur of sound. There is individuality among the players, and 
one may learn to distinguish many of them. The insect musicians can be 
stalked down, captured, and brought home, so that they can be watched while 
performing. Simple homemade wire cages are sufficient for their detention. 

The cage to hold your prizes should be made of ordinary wire net 
screening tacked to a light wood frame. The size should be about two feet 
square. A hinged or removable top is desirable. Bark slabs should be 
provided for the crickets to hide under and twigs should be added for the 
grasshoppers. The katy-did will want a leafy twig from the type of tree on 
which he was found. The leaves will furnish him both food and a hiding 
place. If the twig is stuck in wet sand, it will remain fresh for several 
days. 

The wire of the cage should be sprinkled with water twice a day. This 
will represent the dewdrops or raindrops that these insects would ordinarily 
drink. Once they become accustomed to their surroundings, they will become 


143 


tame and perform while you are watching them. This is especially true of 
crickets. Close observation will show you how they do it. There are still 
problems about insect music that are unsolved; it is not impossible for the 
scientific minded amateur, through careful and accurate work, to make new 
contributions to the field. That is one of the valuable things about observ¬ 
ing and experimenting with insects, there is still so much to be discovered. 

Some insects sing only at night, some only in the daytime, and some 
sing a different song at night than during the day. A flashlight can be used 
in hunting the night singers. The insect will stop singing as you approach. 
Turn off the light and wait until he begins again. When you are very close 
he will stop altogether, but by then you are close enough to capture him. 

The insect is without lungs and apparently without voice. Various 
insects, however, possess musical or sound-producing instruments--rattles, 
castanets, clickers, drums, and assorted scrapers--that would do credit to 
a jazz orchestra. Why do the insects make these sounds? It is one of the 
mysteries. The stock answer has been that these sounds are love songs. 
Usually, only the male insect is capable of making music; the females seem 
destined to silence. It was natural to assume that this musical ability 
was connected with the act of finding a mate. The female may be guided to 
the male by the sound or he may woo her with music. Possibly she picks the 
male who seems to her to be the sweetest singer. Other theories have been 
advanced, but this is the most attractive and the most widely accepted. 

Yet Dr. Frank E. Lutz, curator of entomology at the American Museum of 
Natural History, New York City, has critically examined much of the evidence 
for this theory and finds it wanting in scientific proof. A great many in¬ 
sect sounds. Doctor Lutz believes, are accidental and have no more purpose 
than the rattling of an old car. However there are in many insects special 
and elaborate sound-producing organs. Can they have been developed and 
tirelessly used for ages for no reason? No one knows. We lack conclusive 
evidence. 

Even the question of whether or not the insect hears sounds, in the 
ordinary sense, awaits conclusive proof. That insects see is known. That 
they can distinguish ultraviolet as a color, though it is completely invis¬ 
ible to human eyes, is known. That some of them have an uncanny sense of 
smell is known. It is possible that they produce and detect sounds higher 
in pitch than human ears can hear. Some experiments have been made to find 
out but with negative results so far. 

No one knows much about the insect's sense of hearing. In examining 
a cricket, you will find a light-colored spot on the front leg belcw the 
knee. This is supposed to be an ear. The long-horned grasshopper also has 
"ears" on his legs. The short-horned grasshopper has an "ear" on each side 
of the first segment of the abdomen. Whether or not they are really ears 
and how they work is not known. 

Many insects breathe through holes in the sides of the body. Insects 
make sounds of many kinds, but aside from the cicadas, most of the real 
singers belong to the Orthoptera. This group includes among others the 


144 


family of the short-horned grasshoppers; the family of the long-horned grass¬ 
hoppers, green meadow grasshoppers, and katy-dids and the cricket family. 

The green meadow grasshoppers are found in weeds and grass. Try 
grasshoppers on a diet of grass and weeds; most of them are fond of cornsilk. 

The short-horned grasshoppers (They are stocky, often brown in color, and 
their name comes from the fact that the antennae are shorter than the body.) 
are not notable singers. In flight some of them click the strong forewings 
against the thin, fanlike, hind wings which produces a noise like castanets. 

This sound may continue for some time as a male hovers in the air over a 
female in the grass below. Perhaps, he is displaying the brilliant wings 
that some forms possess. Many short-horned grasshoppers "fiddle" for hours by 
rubbing the long hind legs against the front wings while sitting on a blade 
of grass. 

The long-horned grasshoppers--a more slender insect having antennae 
longer than the body--include many musicians among their number. They pro¬ 
duce the sound by rubbing the two front wings together. These wings have a 
file and rasping surface and vein formations that act as sounding boards. 

The red-eyed locust is about an inch and a half long, has pale green wings 
and body, and has fiery red eyes. They buzz while standing upright on a 
stem in tbe sunlight. The buzz is broken by a series of ticking sounds which 
occur several seconds apart. 

Some of the green meadow grasshoppers are longer than one's finger. 

Big ones may be captured on the seashore sand dunes. These big coae-headed 
ones are so noisy that their whistling buzz can be heard a long way off. The 
katy-did belongs to this family also. However the katy-did is so noisy that 
you may not want to keep him indoors. 

The cricket family includes the most musical of all insects. In this 
country, the most commonly heard are the field crickets. The real virtuoso 
is the tree cricket. They are more fragile-looking than the field crickets 
and have large flattened wings. Many people do not recognize them as 
crickets. Some are light green, others a pale pinkish brown, and still 
another--the snowy tree cricket--white. The music of the tree cricket is a 
clear trill which is sounded without a break. Some even sound like tinkling 
sleighbells. 

The long, black field crickets stay under cover and can be found by 
turning up stones and pieces of wood. They are omnivorous, and will eat al¬ 
most anything. Give them bits of fruit, lettuce, and moistened bread. They 
are liable to eat one another if they are not fed meat or bone-meal. The 
small field crickets, which are the most numerous, are vegetarians. 

The tree cricket has interested many students. One person reports counting 
2,640 trills before the insect paused. Dolbear discovered that the number 
of trills a minute in many species is associated with temperature. He 
worked out a formula showing that the number of times the cricket trills a 
minute equals four times the temperature minus 160. If the temperature is 
76 degrees Fahrenheit, 76 times 4 equals 304 and this minus 160 equals 144. 

The cricket would trill about 144 times a minute. It would be possible to 
find the approximate temperature by counting the trills and reversing the 
problem if no thermometer were available. 


145 


The shrill noise of the cicada, which is sometimes erroneously called a 
locust, is produced by two membranes stretched over sound chambers on each 
side of the abdomen. The membrane is pulled and released so rapidly that 
an almost continuous sound results. The cicada makes a rather noisy captive, 
and it has a wicked looking beak. However, this is to puncture plants rather 
than flesh. The cicada’s life as a winged adult is brief, lasting only a 
few days. This type, known as the seventeen-year locust, spends a long pe- 
riod--17 years in the North and 13 in the South--as an underground grub. You 
can identify the seventeen-year locust by its red eyes and the red wing 
veins. Some of the veins form a "W". It was believed at one time that this 
was a gory symbol foretelling war. 

Since insects are cold-blooded creatures, without means of maintaining 
their body temperature above that of the surrounding air, it is natural that 
these musicians should play their hardest during the hottest weather. Most 
of them perish with the coming of frost. They are succeeded by a new genera 
tion of players the following summer. 

Some of you may envy the naturalist travelling around the world seeking 
out the secrets of animal and plant life. His work is not all fun. He 
risks tropical diseases; he is bitten by insects; be must live on whatever 
food is available and endure hardships. In your own backyard you can find 
as interesting secrets without enduring these hardships. Some of the best 
research work on insects has been done in back yards. The singing insects 
entertain even those who are admirers of nature rather than students of 
nature. 


146 








THE. SOUTH AMERICAN LOCUST 
MIMETEA LOOKS LIKE A LEAF WITH 
LEGS, AN INTERESTING EXAMPLE OF 
PROTECTIVE FORM A NO COLORATION. 


SHORT HORNED GRASSHOPPER 



cicada, or seventeen-year 

LOCUST, SHOWING AT THE TOP 
LEFT, A PUPA; THEN THE EMPTV 
SHELL AFTER THE AOULT HAS 
EMERGED; NEXT ADULT WITH 
ITS WINGS AT REST, AND BELOW 
WITH ITS WINGS SPREAD. 



147 

























































































CLOUDS 


I am the daughter of Earth and Water, 

And the nursling of the Sky; 

I pass through the pores of the ocean and shores; 

I change, but I cannot die. 

Shelley 

Wherever we live, whatever we do, we are all interested in the ever- 
changing form and beauty of the clouds in the sky. We have noted certain 
types of clouds and have watched the sky for indications of rain or sunshine. 
For hundreds of years sailors and fishermen have studied the sky, and they 
have learned by careful observation that certain kinds of clouds mean certain 
kinds of weather. Today, a knowledge of the atmosphere is very important to 
aviators. The meteorologist is interested in the origin and significance of 
clouds, the artist in their beauty. The student of natural history combines 
many interests in his study of the clouds. 

Definition 

What are clouds? A common definition of a cloud is any visible mass made 
up of minute droplets of water or small particles of ice suspended in the air. 
Oceans, lakes, rivers, and all moist surfaces supply atmospheric moisture by 
evaporation, a process whereby molecules of water change to molecules of water 
vapor. The earth is surrounded by air in layers. Sometimes the layers alter¬ 
nate with warm and cool air, but generally the higher we go the cooler the 
air becomes. When moist air is carried to regions of lower temperature, it 
loses the water vapor by condensation. Drops of water form around bits of dust 
and become suspended in the air in the form of clouds. 

Cloud Forms 

Clouds may be classified according to their altitudes above the earth, 
according to their supposed origins, and according to their forms. Sys¬ 
tematic names of clouds are based upon shape and tell us nothing about 
origin or significance. Under this classification there are three basic 
types of clouds: feather-clouds, layer-clouds, and lump-clouds. Since 
these types appear together in a great variety of forms, we describe other 
clouds by combinations of these terms. 

CIRRUS-CURL-CLOUDS OR FEATHER-CLOUDS 

These thin, hair-like, white clouds are usually formed high above the 
earth where the temperature is below the freezing point. They are made up 
of minute ice particles. Typical Cirrus clouds show plainly the fibrous 
structure, the fibres like strands of wool sometimes interlacing, sometimes 
radiating in the form of a fan, and sometimes curling like a plume. They 
are semi-transparent and therefore do not cast shadows on the earth. In our 
temperate region a halo around the sun or moon is produced by a Cirrus 
cloud floating at very great altitudes and is called Cirro-nebula. 


148 


CUMULUS--LUMP-CLOUDS 

Clouds of the Cumulus type are perhaps the best known and the most 
picturesque. Heaped up like packs of white wool or cauliflower heads, the 
upper surface is dome-shaped and the base is flat. When the sun shines be¬ 
hind them they appear dark with silver edges or "have a silver lining." 
Cumulus clouds are all formed in the lower part of the atmosphere and are 
clouds of the daytime. The flat base is the level at which water vapor 
begins to condense into droplets of liquid water. When ordinary Cumulus 
clouds grow and extend into the upper atmosphere, they become thunder-clouds 
(Cumulo-nimbus), the most magnificent of all types. Nimbus is the name given 
to a rain-cloud. It has no definite shape and from its ragged lower edges 
rain, and sometimes snow, falls. 

STRATUS--LAYER-CLOUDS 

Clouds that extend in level sheets belong in this group. The layers 
of Stratus resemble fog in bands parallel to the horizon but they do not 
rest on the ground. The most typical Stratus cloud forms the dull gray 
curtain which sometimes covers the sky for several days. 

ALTO CLOUDS 

From Cirro-cumulus and Cirro-stratus we pass through almost insensible 
graduations to the denser forms classed together in the alto group. These 
clouds are fundamentally different in that they are always composed of 
liquid particles, though there is no doubt, at their great altitude, that 
their temperature must often be many degrees below the ordinary freezing 
point of water. When this is the case, they are usually mixed with streaks 
and filaments like those described under the name of cirrus. The explanation 
is that minute droplets of water may be cooled many degrees below the freez¬ 
ing point without changing into ice and that such super-cooled droplets 
congeal instantly if a few of them join together to form a larger drop. 
Practically the same process may be watched any day when there is a sharp 
frost and dense fog drifting slowly along. The fog-particles are liquid and 
produce optical effects in the neighborhood of any brilliant light, 
absolutely the same as those which would be produced if the temperature were 
above the freezing point. There are none of the different phenomena which 
might be expected if the particles were crystalline ice-dust. Recent measure¬ 
ments of the size of cloud particles show that their diameter varies from 
one, one thousandths to about one, four thousandths of an inch, from which 
it seems that the internal pressure must be quite considerable enough to 
lower the freezing point very perceptibly. It is to be noted, moreover, 
that the drop does not freeze as such, but merely adds some more particles 
to the branching crystals of hoar frost which grows outward toward the 
direction from which the fog is drifting. 

The simplest alto cloud is alto-stratus. When this is complete, so as 
to cover the sky, it can de distinguished from cirro-stratus by the absence 
of fibrous structure. Also, it never produces any halo or fragment of a 


lf9 


149 


halo. Instead il surrounds the sun or moon with a white blur, or, if it is 
thin enough, with a close ring of colored light. This will appear much 
nearer than a halo; ihe colors will appear in the inverse order--that is, 
with the red farthest from the center. Some of these so-called coronae are 
veiy beautiful when seen in the black mirror, and some of those formed 
around a full moon show quite brilliant tints to the unaided eye. Of course, 
these meteorological coronae have no relation whatever to the true solar 
corona; they are simply formed by the passage of the rays of light through 
the veil of small particles. The phenomena are due to what is known as 
diffraction; and if the other conditions are unchanged, the diameter of the 
ring is inversely proportionate to the size of the particles. Purity of 
color in these rings is an indication of uniiormity in the size of the parti¬ 
cles. When the moon is shining through a sheet of alto-stratus, which thins 
off lo one edge, very beautiful effects may often be noticed. The change 
from ihe colorless blur, when a thicker part of the cloud is interposed, to 
the brilliant colors of the corona formed by the thinner edges is very strik¬ 
ing. Similar phenomena are shown, almost equally well, by any of the alto 
clouds. However, cirrus thin enough to produce a colored corona will gener¬ 
ally produce a halo. To sum up the variations of alto clouds, we have 10 
species: 

1. ALTO-STRATUS (High stratus) 

A uniform veil of cloud showing no details of structure, except 
local density variation in patches. Rarely dense enough to completely 
hide the sun or the full moon. 

2. ALTO-STRATUS MACULOSIS (Mackeral sky) 

Characterized as numerous, nearly equal, and small lenticular 
patches ranged on a level and about equi-distant from each other. 

3. ALTO-STRATUS FRACTUS 

Patches and bits of cloud of irregular shape resembling broken bits 
of level sheet. 

4. ALTO-STRATO-CUMULUS 

Intermediate between alto-stratus and alto-cumulus. 

5. ALTO-CUMULUS INFORMIS 

Characterized as more or less rounded cloudlets, interspersed with 
ragged bits of cloud and, occasionally, with streaks of cirrus. The 
cloudlets show no clear-cut outlines but have distinct shadows. 

6. ALTO-CUMULUS NEBULOUS 

Hazy alto-cumulus. 

7. ALTO-CUMULUS CASTELLATUS fTurret cloud) 

A high cloud resembling a number of tall, narrow cumulus clouds on 


150 


a very diminutive scale. The cloudlets show distinct shadows, are very 
opaque, and their upper margins are sharply defined. Vertical axis 
longer than the horizontal ones. 

8. ALTO-CUMULUS GLOMERATUS 

Characterized by the roundness and regularity of the cloudlets 
which have sharp margins, cast distinct shadows, and have their axis 
about equal in all directions. 

9. ALTO-CUMULUS COMMUNIS 

Small, high cumulus of the ordinary pyramidal pattern. 

10. ALTO-CUMULUS STRATIFORMIS 

Flattened cloudlets which gather into small detached sheets. 

BUTTERFLIES # 

Of all the species of animals in the world; insects are the most numer¬ 
ous. It has been estimated that they comprise about four-fifths of our animal 
life. So successful is their adaptation to different environments that man 
is forced to carry on a constant warfare against the harmful species. These 
insects include the disease carriers, the destroyers of crops and food, and the 
household pests. On the other hand, some insects are quite harmless and some 
are of great value to man. The beneficial insects include the bees and the 
butterflies which cross-pollinate flowers, the silk worm, and the honey bee. 

Insects are so numerous and so rapidly obtainable that they can be kept 
and their characteristics and habits studied first hand. The children can 
watch the development from egg to adult, can learn how and what the larvae 
eat, how they molt, how they are protected from their enemies, and many 
other facts. 


Butterflies and Moths (The Scaly-winged Insects) 

These insects have complete transitions, since they are hatched from 
eggs as larvae (caterpillars) which later change into the mummy-like pupae. 
The four-winged adults emerge from these pupae. Adult butterflies differ 
from moths in the following ways: butterflies have slender bodies, the wings 
are held vertically over the body when at rest, the antennae have a knob or 
swelling at the tip, and most butterflies fly only in the dajtime; moths have 
stout bodies, the wings spread flat or are folded over the body when at rest, 
the antennae are feathered or thread-like, and all but a few of our moths fly 
only at night. 


151 




BUCKEYE, AN EARLY SPRING BUTTERFLY, 


BUTTERFLIES IN SPRING 

Many of the butterflies are common in fields and gardens from May until 
October. A few can be found in the leafless woods on the first warm days of 
March. In May the butterflies of the region may be seen in the adult or 
winged stage. 


Types of Butterfly 

SPICEBUSH SWALLOWTAIL (Papilio troilus) 

The swallowtails are the largest of our northern butterflies and may be 
recognized by the tail-like appendages on the hind wings. The most common 
of these is the spicebush swallowtail. Its cocoon passes the winter attached 
to a branch by a girdle of silk and a button of silk at the tail. The cater¬ 
pillar feeds on spice bush and sassafras leaves. It has a disagreeable odor 
which probably protects it from enemies. 

CLOUDED SULPHUR (Colias philodice) 

This is a common yellow butterfly, found everywhere in fields and 
gardens. It is sometimes called the "puddle butterfly", because flocks of 
clouded sulphurs collect around mud puddles along roads. They fly only in 
bright sunlight and are about the size of the cabbage butterfly. The larvae 
feed on clover. 

CABBAGE BUTTERFLY (Pieris rapae) 

This European immigrant, is the only butterfly which causes damage to 
our crops. It is a small white butterfly. The adult male has one black 
spot on each forewing; the female has two. The winged adult emerges from 


152 






the pupa case in early spring. They generally have three broods in a season. 
The larva is hairy and green and feeds on cabbage and related plants. These 
pests are present in every cabbage patch. 

MOURNING CLOAK (Aglais antiopa) 

This is the largest of our butterflies which hibernate as adults, and 
it is the first to be seen in the leafless woods on warm days in early spring. 
The notched wings are velvety black with yellowish borders and a row of blue 
spots just inside the border. Caterpillars hatch from eggs laid in masses 
circling twigs of elms, willows, and poplars. The caterpillars feed on these 
trees. 

BUCKEYE (Junonia coenia) 

The buckeye, like the mourning cloak, hibernates as an adult and comes 
out of its winter hiding place very early in spring. The brownish wings of 
the buckeye have narrow orange bands near the borders and each front wing has 
a large eye-spot. 

VIOLET-TIP BUTTERFLY (Polygonia interrogationis) 

Three of our common butterflies, the violet-tip, hop merchant or comma, 
and the gray comma are called angle-wings because of the notched margins of 
the wings. Like the mourning cloak, the angle-wings hibernate as adults. 

They are difficult to see when at rest in the woods because the wings look 
like withered leaves. The violet-tip has violet colored tails on the hind 
wings. The caterpillars feed on elm leaves. 

MONARCH OR MILKWEED BUTTERFLY (Anosia plexippus) 

The monarch is one of the most interesting species. In the autumn 
great flocks of Monarchs assemble and fly south, like migrating birds. It 
is believed that stragglers return in the spring. The tawny, red-brown 
wings have white-spotted black margins, and the wing veins are outlined in 
black. The monarch is protected from birds by a rank odor. The smooth 
green pupa, dotted with gold, hangs by a slender black stem. The greenish 
caterpillar, marked with black and yellow stripes, feeds on milkweed. The 
viceroy (Basilarchia archippus) although not closely related, ressembles the 
monarch but has a narrow black band across the middle of the hind wing. 

MEADOW FRITILLARY (Brenthis bellona) 

There are a number of common fritillaries closely resembling one an¬ 
other, with orange-brown coloring variously marked above with dots and 
lines of black. The hind wings of most species are marked beneath with rows 
of silver spots. The spiny larvae feed on violet leaves. The meadow 
fritillary is one of the smaller species and does not have silvery spots on 
the under side of the hind wings. 


153 


LITTLE WOOD-SATYR (Neonympha eurytus) 

Found along the shady edges of woods, this little brown butterfly has 
two round eye-spots on the upper surface of each wing. This butterfly and 
its relatives are variously called meadow-browns, eyed-browns, nymphs, and 
satyrs. All have eye-spots on the upper surface of the front wings and the 
general color is brownish. Little wood-satyr caterpillars are greenish-white 
marked with brown; they feed on grasses. 

COMMON BLUE BUTTERFLY (Lycaena Ladon) 

The common blue is also called spring azure. The blues and their rela¬ 
tives, the hair-streaks and coppers, are all small brilliant butterflies. 

Many of the caterpillars in this large family secrete a sweetish fluid which 
is gathered by ants. These flat, slug-like caterpillars feed upon the petals 
and bracts of flowers and upon tender leaves. 

SILVER-SPOTTED SKIPPER 

The Skippers get their common names from their rapid darting flight. 

Most of these butterflies are small and dull-colored. A large silvery spot 
on the under side of the hind wing distinguishes the silver spotted skipper. 

It is found in open fields near locust trees. The larvae feeds upon the 
leaves of this tree. 

MAKING LEAF PRINTS • 


Methods 

There are three methods used in making leaf prints: 

1. Tallow candle method. 

2. Printers* ink method. 

3. Photographic method. 

Which method is to be used will depend considerably upon the material 
available. The tallow candle method is the least expensive but does not give 
as distinct a print as the printers' ink method. The photographic method is 
expensive. 

TALLOW CANDLE METHOD 

Equipment Required: 

1. Piece of glossy finished cardboard the size of a sheet of paper 

2. Vaseline 

3. Tallow candle 

4. Plenty of white paper of a good grade 

A quantity of vaseline is rubbed on the cardboard and held over the 
lighted candle until well blackened with soot. The leaf is then placed on 
the sooted area, covered with a sheet of paper, and rubbed with the fingers 
so that all parts of the leaf are well covered with soot. The leaf is then 
removed and placed upon a clean sheet of paper, covered and rubbed again. 

The result is a print of the leaf in black which will not smudge. Care must 
be taken to get the leaf well blackened or an inferior print will result. 


154 


PRINTERS' INK METHOD 

Equipment Required: 

1. A piece of heavy glass approximately 12 by 14 inches. A wind 
shield glass is the best. 

2. Green printer's ink. 

3. A photographer's or printer's roller. 

4. A quantity of a good grade of white paper. 

The green printers' ink is the only expensive item. It is suggested 
that one tube be purchased by the group and small amounts be distributed to 
the members. By securing from a drug store a few empty tubes, such as tooth 
paste comes in, a quantity of ink may be put in these tubes and distributed. 
This will prevent the ink from drying. 

A small quanity of ink is placed on the glass and rolled. The leaf is 
placed in the ink, covered with a sheet of paper, and rolled. The leaf is 
then removed to a clean sheet of paper and rolled again. The result is a 
green print showing marginal outline and venation. This is the most popular 
method. 

PHOTOGRAPHIC METHOD 

Equipment Required: 

To make leaf prints with this apparatus the leaf is placed in the 
holder against the glass, a sheet of solio paper is placed with the glossy 
side against the leaf and the cover put in the holder and clamped down. Then 
the whole is placed in the sun until the paper turns a very dark maroon. In 
the meantime one of the bottles of the solio powder is dissolved in an amount 
of water according to the directions. As soon as the picture is ready it is 
placed in the bath and allowed to remain until all of the coating of silver 
nitrate is washed off. You will notice that the maroon lightens up in the 
bath; consequently it is desirable to allow it to remain in the sun until it 
becomes almost black. After the print is removed from the bath and dried, 
the result will be the outline of the leaf including all its markings. 

NATURE GAMES • 

A List of Nature Games 

NATURE ALPHABET 

The leader names a letter of the alphabet. Each player in order names 
a bird, flower, or tree (decided upon before starting) which begins with 
that letter. Anyone who cannot do so in less than five seconds is out. No 
one is to name an object which has already been named. The team having the 
greatest number at the end of a certain time is the winner or the last group 
to name an object commencing with that letter wins a point. 

NATURE SOUNDS 

The group is given five minutes to see who can make the longest list of 
things heard in the woods in that time. It may be a raindrop, crow, cow, 


155 


rooster, rustling leaves, the swish of the pine, the tapping of the wood¬ 
pecker, or the song of the brook. The group with the longest list wins the 
game. 

LEAF RELAY 

Line up in groups. Give each one at the head of the line a list of 
trees. At the signal to start the first player hands the list to the second 
player and then goes to get a leaf of the first tree on the list. When he 
returns with the correct leaf, the second player passes the list to the 
third in line and then runs to find a leaf of the second tree. Thus the re¬ 
lay progresses. The group getting the greatest number of leaves in a given 
time is the winner. If there is no time limit, the team which finishes the 
list first may be declared the winner. 

PROVE IT 

Players sit in a circle. The one starting the game says: "From where 
I am sitting I can see a gray birch." The next one says: "From where I am 
sitting I can see a gray birch and a black cherry tree." The next player 
repeats all that the previous players have said in exactly the same order 
and then adds another tree or bird to the list and so on until everyone has 
had a turn. If a player doubts the statement he may challenge the speaker. 
Anyone caught pays a forfeit by doing a stunt or imitating a bird or animal 
after the game is over. 

CURIOUS SHAPED ANIMALS 

This game is well liked by children on nature guide trips. Give them 
five minutes to get a curious shaped animal or object of nature. The scal¬ 
ing bark of the yellow pine is particularly well adapted to the use of the 
imagination. Driftwood and washed roots are suggestive. Pine cones as the 
bodies of birds, knots as curious heads, and berries as eyes add to the fun. 
This furnishes a good time on nature hikes. 

SEED DANCE 

The person who can keep a certain kind of seed in the air longest by 
blowing is the winner of this game. Milkweed seed is good for this amuse¬ 
ment. 

SPELLING BEES 

Divide the players into groups. Play the game with insects, flowers, 
trees, etc. Hold up the object. The first in line must name it. If he 
fails, he drops out of line. The side having the greatest number of players 
remaining wins. It is well to commence with the most common and well known 
plants. 

GAME OF TOUCH AND SMELL 

Blindfold the contestants. Allow them to touch or smell the object. 

The person who guesses the most correctly wins. 


156 


SPOT SPY 

This is a good game to play while resting during a hike. Someone says 
he sees something. Everybody who sees the same thing gains a point. The 
one earning the greatest number of points is the winner. 

SPOT THE TREE 

Give each person a sample of a twig, fruit, leaf, or bark. See who can 
find a tree to match the sample first. 

GETTING A CLUE 

Punch a hole in a piece of paper. Through this hole show a small 
portion of a leaf or flower at a time. The first person to identify the 
object correctly is the winner. 

BIRD PICTURE CONTEST 

The colored pictures of birds are cut into four parts--head, body, 
tail, and legs. The pictures of the legs, and in the case of the seed eat¬ 
ing birds, the beaks are scattered on the following tables: ducks, other 
swimming birds, wading birds, tree trunk climbers, insect feeders of the 
air, birds of prey, and seed eaters. When the whistle blows the players 
select a picture of some bird's leg and from the characteristics of the legs 
tries to find the other parts of that bird. As soon as one picture is 
completed another leg is taken and so the game progresses until the supply 
is exhausted. 

NATURE CLUBS # 


Organizing a Nature Club 

Many clubs are organized simply for the sake of having a club, and only 
after organization is the question asked, "What shall we do?" A better 
sequence of events is the finding of a common interest in an activity, the 
recognition of the need for a club to foster this interest, and finally the 
organization of the club. For example, children with gardens will probably 
succeed better with a garden club than a group will that is formed into such 
a club without previous interest. Let your club come as a result of interest 
in wild life, forestry, pets, and nature in general. 

Have a simple organization with president, vice-president, and sec¬ 
retary-treasurer. The machinery should be sufficient to make for order and 
program-planning but not so complicated as to interfere with the main bus¬ 
iness of providing nature experiences. Under leadership allow club members 
to plan their own programs. 

Some special activity, such as a hobby show, hike, visit to a museum, 
or other nature experience, may be the interest-rousing event which will 
create the demand for a club. 


157 


KINDS OF CLUBS 

General nature clubs, which introduce the group to all fields of nature, 
may be organized. Various names may be applied to such clubs such as Junior 
Naturalist, Nature Club, Field and Stream Club, Hiking Club, etc. 

Often some interest makes the organization of a specialized club desi¬ 
rable. The following clubs are operating successfully in various cities: 


Bird Club 

Camera and Nature Club 
Fern Club 
Flower Club 
Forestry Club 
Gardening Club 
Geology Club 


Mineralogy Club 
Mushroom Club 
Pet Club 
Water Life Club 
Wild Life Club 
Zoology Club 


Many of these affiliate with some national organization such as Scouts, 
Audubon Societies, Junior Garden Clubs of America, and others. 


ACTIVITIES 

Make your program one of doing and not merely of talking. The type of 
activity will be selected to fit the age group. 

For younger children, six to eleven years of age, stories, nature 
walks, games, and simple nature crafts are suitable. For older children, 
eleven to fourteen years of age, a very rich program in nature should be 
offered, for these years usually constitute the period of greatest interest 
in nature activities. Though the kinds of activities are almost unlimited, 
here are a few suggestions: 

1. Field trips, hikes, and picnics of all kinds. 

2. Correlation of nature with crafts, drama, music, and stories. 

3. Discussions, talks, etc., in club meetings. 

4. Games. 

5. Collecting of various nature materials. 

6. Preparation of displays for a junior museum. 

Older young people and adults will be interested in many of the fore¬ 
going activities. They will also be particularly interested in problems of 
conservation, balance in nature, and interrelationships of life. Clubs of 
this age group may often become the agencies for the development of parks, 
sanctuaries, community programs of gardening and city beautification, nature 
recreation through schools or playgrounds, etc. 

SPECIAL PROJECTS 

Keeping some big project always in operation or preparation is a tre¬ 
mendous incentive to a nature club. Here are a few suggestions: 


158 


1. Development and maintenance of a nature trail. 

2. Preparation of check lists, keys, or surveys to a given area or 
community. 

3. Development of a trailside museum or nature corner. 

4. Tree-planting or program of community beautification. 

5. Promotion of and conducting of hobby fairs, pet shows, zoo days, 
etc. 

6. Conservation of natural features in specific areas. 

7. Publication of nature notes. These may either be mimeographed or 
published in a special column in the local newspaper. 

8. Group or individual garden projects. 

NATURE BULLETINS © 


School Nature League issues one nature bulletin each month during the 
school year for teacher members and others who pay 50 # annually. The follow 
ing back bulletins are now available at 5^ each, or in sets of 22 for $1.00 
or 11 for 50^. The sets are fastened securely between covers. For students 
of natural history, these nature bulletins fill a need that is met by no 
other publication. Each subject is dealt with briefly, is thoroughly 
accurate and authoritative, and sums up the most interesting information 
about the subject for field, museum, and classroom study. 


The Amphibians 
Bird Migration 
Bird Studies 

Bivalves--Clams & Their Relatives 
Books for Nature Study 
Catkin-Bearing Trees 
Club Mosses and Horsetails 
Clouds 

Common Fresh Water Fishes 
Common Oak Trees in Winter 
Common Turtles 

Crustaceans--Armored Animals of The 
Seashore 
Fossils 

The Fresh Water Aquarium 
Fungi 

Giant Silkworm Moths 
Harmless Snakes 
Household Insects 
Insect Music 
Insectivorous Plants 
Insects in Winter 
Insects of Ponds and Streams 
Interesting Spiders 
Introducing the Wasps 


An Introduction to Grasses 

Leaf Scars and Bundle Traces 

The Lichen Clan 

Mosses and Lichens 

Native Evergreen Trees and Shrubs 

Oak Leaves and Acorns 

Opposite Branching Trees 

Our small Mammals 

Plants for the Classroom 

Poisonous Plants 

Poisonous Snakes 

Rocks of the New York City Region 

Salamanders 

Sedges and Rushes 

Seed Dispersal 

Six Common Evergreen Ferns 

Snails and Slugs 

Some Berry-Bearing Shrubs in Autumn 

Some Common Building Stones 

Some Commcn Butterflies 

Some Common Woodpeckers 

Study the Stars 

The Terrarium 

Winter Rosettes 


159 


Checks or money orders should be payable to School Nature League. 


Address: 


School Nature League, The American Museum of Natural History, 
79th Street and Central Park West, New York, New York. 


160 


Chapter IX 

LOW ORGANIZED GAME THEORY 


Did You Know? 

Interesting Facts About The Games 

Low Organized Game Theory 

General Principles 
Use of Equipment 


I I 1 I I M 1 


This they all with a joyful mind 
Bear through life like a torch in flame, 
And falling, flying to the host behind-- 
"Play up! Play up! and play the game! 

Henry Newbolt, Vital Lampada 




DID YOU KNOW? 


1. That the game of checkers or draughts, as it is called in some countries 

was played as far back as 1600 B.C. in Egypt, and that it was popular 

in ancient Greece? That the natives of New Zealand have played it for 
many centuries? 

2. That hopscotch is sometimes called hopcrease? 

3. That baseball celebrated its one hundredth birthday in Cooperstown, New 
York, last year, and that the United States government issued a new 
stamp for the occasion? 

4. That baseball is an American game originated by Abner Doubleday? 

5. That the first baseball games were called one old cat, that the players 

numbered only two, and that there was only one base? Gradually more 
players and more bases were added until it became the game you know to¬ 
day as baseball, 

6. That the game of marbles is so old no one knows just where or when it 
started, and that beautifully carved and decorated flint and clay 
marbles have been found in the monuments of the mound builders, the 
ancient peoples who lived along the Ohio and Mississippi river valleys 
before the Indians? 

7. That a game you will learn on the playgrounds this year is very old 
and is known in almost every European country? That it is called nine 
men's morris in England, muhl in Germany, and mill in Czechoslovakia? 

8. That football is the oldest outdoor game in existence--so old no one 
knows where it started? That it was played in ancient Rome by 
soldiers? That the Celts used football as a rite for worshiping the 
Sun Gods? That the Teutons used the skulls of their enemies as balls, 
and that the Eskimos and Aztec Indians used a bag of moss as a ball? 

9. That basketball never grew up as other games did; it was invented as a 
complete game by an American, Dr. James Naismith, in 1892. That two 
peach baskets were used for goals, and that is why the game is called 
basketball? 

10. That the first basketball games had 40 to 50 players on each side? 

That although it is only 48 years old, basketball is played all over 
the world and is one of the most popular sports in America? 

11. That the Olympic games were first played in ancient Greece near the 
temple of Zeus of Olympia, and that the games took their name from 
that place? 


162 


INTERESTING FACTS ABOUT THE GAMES 


Singing Games 

OATS, PEAS AND BARLEY GROW (British folk lore) 

This game dates back to the 14th century. You may find children 
playing it in France and Italy. It was sung to the gods to promote and 
quicken the growth of crops. 

GREEN GRAVEL 

Green Gravel is a West Virginia folk game. 

OLD ROGER IS DEAD 

Old Roger is Dead is a traditional North Carolina folk game. 

BLUE BIRD 

Blue Bird is a West Virginia folk game. 

WHEN I WAS A SCHOOL GIRL 

When I Was a School Girl is an early American song. 

LITTLE SISTER COME WITH ME 

Little Sister Come With Me is a German folk song. It was used by the 
composer, Hunperdinck, in the score of the opera Hansel and Gretel. 

LOOBY LOO 

Looby Loo is a very ancient game. A recent explanation of Looby Loo 
may be more interesting than factual. This explanation says that the song 
was sung by a child’s mother while giving him his Saturday night bath. The 
water was not very warm, and the room was cold. The child dipped the part 
of bis body mentioned into the water and, upon finding it cold, jumped out 
again. He shook himself. At the end of the game he is clean and the bath 
is over until the next Saturday night. 


163 


Games 


GO BAN 

The origin of go ban is Oriental. Outside of chess, go ban is the only 
game which has survived the trial of many centuries without any change in 
its rules. If we believe old Chinese sources, the game is three times as 
old as chess. According to these sources, the Chinese Emperor Shun, who 
reigned from 2255 to 2206 B.C., invented the game in order to strengthen the 
mental faculties of his son, Shokin. The Japanese call the game igo. The 
Chinese name is wei ki. 

LOW ORGANIZED GAME THEORY < 

Note: Chapters IX and X may not be reproduced without the permission 

of Margaret E. Mulac and Florence G. Bundy. 

General Principles 

Low organized games are those which possess no well-defined set of 
rules limiting the number of players, the size of the playing area, and the 
type of equipment. For these reasons many variations are possible. In fact, 
variation is their keynote. It is evident that an attempt to learn the names, 
rules, and types of equipment necessary for all low organized games would be 
futile. However, by understanding that all low organized games stem from a 
basic few and by capitalizing on their variability, it is possible to obtain a 
working knowledge quickly. 

In the following paragraphs an attempt will be made to show that from 
a simple, basic game innumerable games may be created by-- 

1. Changing the form of locomotion. 

2. Changing the kind or amount of equipment used in the game. 

3. Changing the formation of play. 

The variations created by the leader will serve a four*fold purpose; they 
make it possible for the leader to adapt any low organized game to the 
place, the group, the occasion, and the available equipment. Accordingly, 
the leader can adapt the games to fit playground, camp, gymnasium, or club- 
room; he can make them suitable for adults or children or for groups with 
handicaps. He can also build a successful program regardless of whether or 
not his equipment is plentiful or limited. 

If the leader regards the basic game as raw material ready to be molded 
into whatever he desires instead of as a finished product, he will discover 
a new thrill in game-leading that is experienced only by those who create. 

In studying low organized game source material, directions or suggestions 
for a particular game should not be regarded as unchangeable. The greatest 
advantage of this activity is its flexibility of rules and its possibilities 
for variation. 


164 


ar*m Tn th * W f h ° f ieS Up ° n L hls memor y in leading games limits bis pro- 
th * a “ 0 ^ 0f u res u earch he has done or to his previous experience. 
thl . _ ’ t , he . Ieade . r . * ho guilds his program upon the suggestions outlined in 
this manual is limited only by the extent of his resourcefulness, interest, 
or ability. His progress need never be boring either to himself or to the 
group, since at each meeting the leader can introduce new variations to 
supply the freshness which is so vital to the continuance of any group. 

It should also be remembered that it is not the type of activity the 
sort of equipment, or the locale that makes the game popular; it is the element 
ol competition against an individual or team. The best game in the world 
1S P °Tt, tleSS ^ there is only one team and consequently no competition. 

The use of all the variations possible on any basic game may not result 
in each game proving a sure fire hit, but that does not lessen the possibil¬ 
ity and use of these variations bring to the leader the knowledge of the 
relationship between games. This knowledge is more valuable than the most 
exhaustive game file. 

Another subject to be discussed in the following chapters will be the 
field of relays. They will be divided into three distinct types, and once 
the leader knows these divisions he may invent games as he goes along. 

These invented games, as has been pointed out in discussions of variations 
of basic games, will fit the occasion, the place, and the group; because 
they have been created with those conditions in mind. 

It is not to be supposed that after reading this or any other material, 
a leader will suddenly become a games leader who is never at a loss for a 
game even under the most difficult circumstances. It is to be assumed, how¬ 
ever, that if a leader works constantly with games, inventing new ones as he 
goes along, he will soon arrive at the point where new ideas for games will 
come into bis mind without difficulty. He may eventually be able to invent 
games more readily than he can remember those he learned. 

It is well to remember that the games leader is like the craftsman in 
this respect; at first the craftsman must familiarize himself with the 
material and the tools with which to work the material. At this time he is 
too occupied with these two items to have any idea of how to create with them. 
At first he may use suggested designs rather than his own. After he is 
accustomed to the tools and both the limitations and possibilities of the 
material, he begins to "think" in terms of the material and then begins to 
create with it. A painter sees his subject in terms of paint, canvas, lights, 
setting; a sculptor in terms of stone, size, etc. Similarly, a games 
leader must accustom himself first to the types of equipment used in games, 
to their possibilities, and to their peculiarities before he can invent 
activities to utilize them. A list of the types of equipment used in game 
leading and suggested ways of using them follows. 


165 


Use of Equipment 


BLOCKS 

Blocks are usually pieces of two-by-four 12 inches long. 

1. They may be stood up and used like Indian clubs, either 
to be thrown at and knocked down or to be used as posts 
to mark the end of a course (that is, for players to 

run around). 

2. They may be held in the hand and used as movable stepping 
stones, so that a person advancing must slide them along 
as he stands upon them. 

3. Since they are an awkward size to handle, they may be used 
in a passing game to give it novelty. 

4. They may be stood up in certain positions so balls can be 
rolled between them. 

5. Blocks may also be used as bats. 

SOFT BALLS 

Soft balls have many other uses than the game of softball. 

1. They may be thrown for accuracy or for distance. 

2. Soft ball may be passed overhead, between the legs, 
forward, backward, around a circle, along with other 
articles, or while the players hands are clasped. 

Numerous other variations are possible. 

3. They may be batted with a baseball bat, with a block, 
or with a broom stick. 

4. The balls may be rolled between blocks, between legs, 
into a hole, into a hoop laying on the floor, into 
cans, or into boxes with holes cut in them. 

5. They may be thrown for accuracy through hoops or at 
targets. They may be thrown with the left band. 

SOCCER BALLS OR RUBBER BALLS 

1. These balls may be kicked for accuracy between blocks, 
in alleys, or over barriers. 

2. They may be rolled between markers, between legs, or 
into marked areas that have numbered values. Blocks 
may be knocked down in this manner. 

3. They may be passed from hand to hand, overhead, between 
the legs, with the left hand only, with one hand behind 
the back, etc. They may be juggled in the air while 
making forward progress. 

4. The balls may be dribbled with the foot either in a 
straight line or around blocks set in a zigzag course. 

5. They may be thrown into baskets, through hoops or boxes, 
and at persons or objects. 


166 


6. They may be bounced and dribbled from the hand while 
making forward progress. 

7. They may be batted with the hand for distance or 
placement. 

BEANBAGS 

1. Beanbags may be thrown overhand or underhand. They can 
be thrown at targets, through hoops, or between the legs 
while the person is in a stooping position. They may be 
tossed into the air while the player is making forward 
progress. They may also be thrown for placement, since 
they do not roll when they hit the floor or ground. 

2. They may be placed on the head, shoulder, or foot while 
the player makes forward progress. 

3. Beanbags may be kicked along as the player moves forward. 

4. They may be used in games of elimination--such as "one 
out" in which the players run from a line and try to get 

a beanbag from a place 35 or 40 feet distant. The player 
who does not obtain a bag is eliminated. 

BASEBALL BATS OR WANDS 

A wand is a three foot piece of one-by-one batton or simply a 

sawed-off broom stick. 

1. Either may be used as hobby horse sticks for variations 
based on type of locomotion. 

2. They may be used to jump over. 

3. They may be used to push other objects such as blocks, 

balls, or dumbells while the player simultaneously makes 
forward progress. 

4. They may be used to bat balls. 

5. They may be used as hockey sticks. 

BALLS OF STRING 

1. Balls of string may be passed down a line, being unwound 
as they move along and then wound up as they come back. 
They may be passed around a circle being unwound as they 
go around five or six times, then being wound up again. 

2. They may be passed around a circle, being unwound in the 
process, and then objects such as spools, rings, or 
washers may be threaded on the string and passed from 
hand to hand. 

3. String may be stretched taut for a number of feet and the 
players required to blow a paper cup or paper cone strung 
on it over the course. String may be used in the shuttle 
type of relay or in the simple type. 


167 


JAR RINGS 

1. Jar rings may be tossed onto hooks or nails driven into a 
board. Each hook may represent a different value in points. 

A type of hook baseball might be played with this equipment. 

2. They may be used as markers in sidewalk games such as hop¬ 
scotch, sidewalk baseball, ring toss, etc. 

3. They may be thrown into boxes with holes cut into them. 

Point values may be assigned to the various holes. 

OLD AUTOMOBILE TIRES 

1. Tires may be rolled for speed, accuracy, or rolled over 
courses having hazards. 

2. They may be used as targets for balls to be thrown into 
(if the tire is on the ground) or balls to be thrown 
through (if the tire is suspended in the air). 

3. They may be crawled through in a sort of human croquet 
or in relay games. 

HOOPS 

Hoops from wooden barrels are preferable. They should be rubbed with 

sandpaper or covered with cloth or electrician’s tape. 

1. Hoops may be rolled. 

2. They may be used for targets to throw through (if sus¬ 
pended) or to roll or throw into (if placed on the ground). 

3. Players may step through the hoop or bring it down over 
the head. 

4. Hoops may be tossed like horseshoes onto chair legs or 
may be thrown into a marked area* 

SMALL RUBBER BALLS 

Small rubber balls may be used advantageously. 

1. These balls may be bounced against walls and caught. 

2. They may be bounced onto a marked spot on the ground near 
a wall in such a way that they bounce against the wall 
and back to the players. 

3. The ball may be bounced in such a way as to make it go 
into a box, basket, or one of several tin cans. 

4. They may be batted with a wand or broom stick. 

5. They may be bounced in certain ways. This is true in 
O'Leary and Jackstones. 

6. They may be used to teach throwing and catching techniques 
to children. 


168 


ROPES 

Heavy ropes and wasbline types are the ones referred to below. 

1. They may be used as jumping ropes for either regular rope 
jumping or in relay games. 

2. A beanbag may be tied to the end of the rope. This makes 
a satisfactory "shot" for the popular "jump the shot" game. 

3. Ropes may be stretched as barriers for children to jump 
over or crawl under in obstacle races. 

4. They may be stretched on the ground as starting and 
finishing lines for areas otherwise hard to mark. 

5. Tug of war games may be organized, either of the team or 
individual type. In one type an endless rope is used and 
children pull against individuals. 

6. They may be stretched and used as nets where none are 
available. 

7. They may be stretched on the ground and balls rolled toward 
them for accuracy. 

8. They may be weighted on both ends and used in place of high 
jump barriers. 

9. A ball may be fastened to one end of the rope and the other 
end may be attached to a pole for the tether ball type of 

games. 


PAPER BAGS 

1. Paper bags may be used as blindfolds to confuse the players. 

2. They may be blown up and broken in relay type games. 

3. They may be placed on heads as hats to be knocked off by 
rolled newspaper clubs. 

4. Players may be handicapped by having bags placed on their 
feet and having to walk in them. 


NEWSPAPERS 

1. Newspapers may be used as stepping stones. (The player 
must stand on one piece, place the other in front of him, 
step on front piece, bring rear piece around in front, 
etc.) This is a varied form of locomotion. 

2. They may be rolled up and used as swatters. 

3. They may be used in a cutting contest to see who can make 
the most recognizable shape, longest continuous strip, etc. 

4. They may be squeezed into lightweight, unwieldy, and unpre¬ 
dictable balls. The unpredictability of the ball will 
create humorous situations. 


BOTTLE CAPS 

Pop bottle caps are practical for use in many games. 

1. They may be used as substitutes for checkers, counters, 
etc. 


169 


2 . 


Caps may be used as small objects to be passed or bidden 
as in "button, button." 

3. They may be used as markers in sidewalk games. 

4. Caps may be used to throw into cans or boxes for accuracy. 

SACKS 

Gunny sacks are an easily procurable type. 

1. Sacks may be used as targets and objects may be thrown into 
them. 

2. They may be used in sack races in which the player stands 
inside of the sack and can make forward progress only by 
hopping. 

These are a few easily remembered pieces of equipment that may be used 
in hundreds of different ways to create variations of known games or in invent¬ 
ing new games. As the leader's experience with play materials grows, he sees 
new uses for familiar articles. Gradually almost any object becomes to him a 
piece of equipment for a game he has invented. 






Chapter X 
GAMES 


Low Organized Games 

Circle Games 

Tag Games 

Relay I, II, III, IV 


Indian Games 

Ring and Stick 
Sandbag Ball 
Stick Matching 

Foreign Games 

Bounce the Ball 
Chinese Puzzle 
Fox and Geese 
Guithi 

Pangie-Chang-Nan 

Siga 

Triangle Games 
Wari 

Miscellaneous Games 

Jack Knife Baseball 

Tip Cat 

Washers 

Individual Games 

Broomstick Quoits 
Cats and Dogs 
My Square 
Tommy Tommy Turn 
Territory 
Twelve Stones 


171 


GAMES 


Checker Board Games 

Checker Board Fox and Geese 

Checker Puzzle No.l 

Checker Puzzle No. 2 

Diamond Checkers 

Fanorona 

Friends 

Go Ban 

Hasami Shogi 

Human Checkers 

Mill 

Triangle Peg 

Sidewalk Games 

Hop Scotch Variations 
Sidewalk Baseball 
Sidewalk Checkers 
Sidewalk Tennis 
Spot Ball 

Combative Games and Stunts 

Definition of a Stunt 
Bear Dance 
Chef’s Hat Boxing 
Chinese Get Up 
Circle Wrestling 
Cock Fight 
Duck Fight 
Ear Hand Slap 
Hand Slapping 
Hand Wrestle 
Human Rocker 
Indian Wrestle 
Knee Spring 

Leap Frog and Forward Roll 
One Legged Hand Wrestle 
Poison Fight 
Underhand Slap 


172 


GAMES 


Quiet Games 

Acting Adverbs 
Alphabet Game 
Buzz 

Grocery Store 
Hangman 
New Orleans 

Pick the Right Hand Last 
Quiet Game I 
Quiet Game II 
Simon Says 
The Pebble Game 
Twenty-one Questions 
Who Is the Leader 

High Organized Games 

Line Soccer 
Soccer Baseball 
Wall Handball 


IIIIIOIMIIII 


In all time of our distress 
And in our triumph too, 

The game is more than the player of the game, 
And the ship is more than the crew. 

Rudyard Kipling. A Song in a Storm 


173 


LOW ORGANIZED GAMES 


Circle Games 


Circle games are probably the easiest of all low organized games to 
teach. The formation is simple to organize, and the variations are almost 
unlimited. 


Example Game In Which Locomotion Is Important 

PLAYERS 

Any number of people may play. 

AREA 

One hundred square feet should be the minimum. 

FORMATION 

A single circle of players facing inward is formed. One player is 
chosen to act as the "chaser" or "it." 

ACTION 

The "it" runs around the circle, taps a player on the shoulder, and 
continues around the circle. The tagged player runs in the opposite direc¬ 
tion taken by the "it" and tries to get back to his place before the "it" 
replaces him in the circle. If he fails to regain his place before the "it" 
replaces him, he is "it" during the next round. 

POSSIBLE VARIATIONS 

1. A change in the form of locomotion results in variations. Players 
can walk instead of running, or they can skip, run backwards, or 
walk on all fours. 

2. Variations are possible through adding to the action. As they 
run around the circle, players can be required to grasp hands as 
they meet, and then stoop before proceeding around the circle. 
They might be required to grasp both hands and twirl around 
three times before proceeding. 

3. Changes in formation can be used for variety. By numbering off 
the group so that each player has a partner and by also using 
some of the previously mentioned forms of locomotion with the 
two players running together, the game is so changed that it be¬ 
comes unrecognizable. 

4. The addition of equipment results in successful variation in the 
game. By adding equipment the locomotion form may become one 
requiring skill. The players can be required to bounce a ball, 
balance a beanbag as they run, or roll a hoop. (See section on 
relays for other suggested locomotion forms requiring equipment.) 


174 



Example Game In Which Equipment Is Important 


PLAYERS 

Any number of people may play. 


AREA 

One hundred square feet should be the minimum. 

FORMATION 

A single circle of players facing inward is formed. One player in the 
center acts as "it." 

EQUIPMENT 

A rubber play ball, volley ball, or soccer ball are needed. 

ACTION 

The players attempt to throw the ball from player to player without 
allowing the "it" to touch the ball. If the "it" touches the ball, the 
last person who threw the ball is "it". 

POSSIBLE VARIATIONS 

1. A change in equipment results in variation. For example, 

If no balls are available, the leader may substitute a beanbag or 
a piece of squeezed-up newspaper. To make the game more exciting 
two pieces of equipment may be used instead of one. 

2. Variations in the game also result from changes in the physical 
position of the players. Players may be required to kneel rather 
than stand upright. 


Example Game 


PLAYERS 

Any number of people may play. 


AREA 

Any space more than 60 square feet in size can be used. 
FORMATION 

A single circle facing inward is formed. 

EQUIPMENT 

An inflated ball and several blocks or Indian clubs are needed. 
ACTION 

Leader designates three of the group as center players. They take 
their places in the center of the circle. Each guards a club or block. 


175 


The players in the circle attempt to knock over the clubs with the inflated 
ball. If a player knocks over a club, he exchanges places with the center 
player whose club he knocked down. 

POSSIBLE VARIATIONS 

If the members of the group throw accurately but are not agile, the 
leader may substitute bean bags for the ball. By using more than one object 
for the throwing the game is altered. 

There is a further possibility that the game be played by pairs. The 
partners play side by side when standing in the circle. However, should 
one of the pair knock over a club, one will carry the other on his back 
while guarding the club. 


Example Game 


PLAYERS 

Any number of people may play. 

AREA 

Any space more than 60 square feet in size is suitable. 

FORMATION 

A single circle facing inward is formed. 

EQUIPMENT 

An inflated ball is needed. 

ACTION 

One player is chosen as the center player. The players in the circle 
attempt to hit the center player below the knee with the ball. The center 
player dodges in order to avoid being hit. The person who hits the center 
player exchanges places with him and the game continues. 

In order to vary this game, the leader may restrict the dodging of the 
center player to one particular area. The leader may also substitute bean 
bags for the ball. If the entire group counts off by twos so as to form 
two squads, one may be used as center players and the second may form the 
circle. This will change the game entirely. 

A well balanced program should not only include games of different 
formation-circle, line, and file--bul also of different types--tag, relays, 
singing games, etc. It is wisest to start with circle games, since they 
are the easiest to organize. Line games may come next and then those re¬ 
quiring file formation. So that he will not have to change the formation 
of the group too frequently, the wise leader plays all the games of one 
formation before passing on to another. If this is done, the games follow 
one another without delay. Time should be set aside for request games that 
the group wishes to play. 


176 


Tag Games 

Tag games are an outgrowth of the instinctive hunting and chasing im¬ 
pulse and are necessary in any well balanced games program. Properly 
handled, tag games may also be used as safety valves for excess energy so 
that the group will settle down to a more exacting routine in school, rec¬ 
reation center or on the playground. 

Tag games are divided into two main groups based on the different 
types of immunity. The first immunity is that which is gained by touching 
an object or specific area. The object giving immunity from capture may be 
a goal such as a small circle, a post, or an area behind a line. The object 
may be stone, brick, leather, or materials of a particular color. 

Example Game I 


PLAYERS 

Any number of people may play. 


AREA 

Any fair-sized space may be used. 

FORMATION 

The players are dispersed around the playing area. 

ACTION 

One of the group is chosen as the "it." This may be done either by 
designation or by counting out individuals by such rhymes as "eeny, meeny, 
miny, moe" or "ibbety, bibbity",etc. At a signal, "it" chases any mem¬ 
ber of the group that be thinks he can catch. If he is successful, that 
individual must be "it" for the next round. Any player wishing to escape 
capture may gain immunity by touching some designated object such as-- 

1. A particular kind of tree (maple, oak, elm, etc.). 

2. Wood or any tree. 

3. A particular stone or any stone. 

4. A given area. 

5. A post or pole. 

VARIATIONS 

1. A change in the form of locomotion results in variation. The 
players may be required to walk, skip, hop, or jump instead of 
run. 

2. The number of "its" may be varied. If the group is large and the 
playing space adequate, the leader may have two or three "its" in¬ 
stead of one. This will add to the excitement and interest. 

3. Variety in the game results from changes in formation. The players 
may be numbered off and scattered around the playing area in pairs 


177 


who hold inside hands. The two "its" must also bold hands. The 
players are chased by a couple acting as "it" who are required to 
hold hands all the time. The couple being chased must also hold 
hands as they run. 

Example Game 

PLAYERS 

Any number of people may play. 


AREA 

Any space may be used. 

FORMATION 

The players are dispersed informally around the playing area. 

EQUIPMENT 

An Indian club, baton, or rolled-up newspaper is needed. 

ACTION 

"It" may chase only the player who carries the "poison" object (Indian 
club, newspaper, or baton). To escape capture the pursued player passes the 
"poison" to any nearby player. This player must accept it. The "it" must 
then chase the new "poison" holder. Immunity is gained by transferring a 
designated object. 

A number of circle games which include a runner and a chaser are really 
tag games. This is true of games in which the pursued gains immunity by per¬ 
forming a specified act such as transferring an object or taking another play¬ 
er’s place in the circle. 


Example Game 

PLAYERS 

Fourteen or more players are needed. 

AREA 

Any space which is large enough is suitable. 

FORMATION 

The players form into groups of three each. Two of the players in each 
group hold hands to form a small circle, the "tree", in which the third player, 
the "squirrel", stands. One player is chosen as "it" and another as the runner. 


178 


ACTION 

When the starting signal is given, "it" chases the runner who may gain 
immunity by running into any nearby "tree" and displacing the "squirrel" 
there. The "squirrel" who is put out is subject to chase by the "it." If 
a "squirrel" is caught, he becomes "it" and the former "it" becomes the run¬ 
ner. 

HINT 

The leader may tell the players that when he blows his whistle, the 
positions of the runner and chaser are to be reversed. The runner then be¬ 
comes the chaser or "it." This keeps the game interesting if the "it" 
becomes too tired to catch the runner or if the players are of unequal 
ability. 

The second type of immunity is that which is gained by performing a 
specified act such as stooping, squatting, freezing, etc. The more com¬ 
plicated acts to obtain immunity are better suited for use in a small 
playing area. 

Example Game 


PLAYERS 

Any number of people may play. 


AREA 

Any space is suitable. 

FORMATION 

The players should be dispersed informally about the playing area. 
ACTION 

An "it" is chosen. He chases a player who may gain immunity only by 
performing an act designated by the group or by the leader in advance. The 
act may be stooping, kneeling, holding the nose with the right hand and a 
toe with the left hand, or any similar act. Immunity is gained by assuming 
a particular pose and holding it until the "it" gives chase to another 
player. 


Example Game 


PLAYERS 

Any number of people may play. 


AREA 

Any space is suitable. 


179 


FORMATION 

The players are dispersed informally around the area in groups of two. 
Each couple stands with inner arms interlocked and outer hands on hips. 

ACTION 

"It" chases any couple and attempts to hook onto the outer arm of 
either person. If "it" succeeds, the player whose arm he has hooked becomes 
his partner and the other member becomes "it." 

It is apparent that tag games are classified according to the type of 
immunity, which include performing an act, touching a particular object, or 
reaching a certain area. Variations are easily achieved by changing the 
type of locomotion, the formation of the players, or by varying the number 
of "its". Tag games are an important part of a well balanced games program. 
Every leader should understand their purpose and use them. 

RELAYS • 

Relays-those entertaining, competitive contests that can be adapted 
to playground or a social party with equal facility--are an essential part of 
every games program. No leader can function effectively without including 
them. A glossary of organized field relays is included in this manual so 
that the leader may understand them more thoroughly and use them more 
effectively. 


Relay Formations 


FILE FORMATION 

The players stand, one behind the other, in two or more teams facing 
the leader. (If the teams are placed in a fan formation, with the leader 
standing at the top of the fan, all the players will be able to see the 
leader without stepping out of line.) 

LINE FORMATION 

The players stand side by side in a line. The two teams face one 
another. (If the teams are placed in a "V" formation, rather than in two 
parallel lines, all the players will be able to see the leader without 
stepping out of line provided he stands at the top of the "V".) 

CIRCLE FORMATION 

In the first of the circle formations a number of small circles are 
placed around the room or playground. 

Example Game 


PLAYERS 

At least eight players are needed to form each circle. There should 


180 


There should be at least two circles. 


FORMATION 

A number of small circles are formed. The players face inward and an 
equal number are included in each circle. One player on each team is 
appointed captain. 

ACTION 

When a signal is given, the captain of each team starts passing an 
object (ball, beanbag, indian club) around the circle. When the object is 
returned to the captain, the entire team shouts, "One”. On the second time 
around, all shout, "Two". This continues. The first team which completes 
a certain number of circuits wins. 

Another formation consists of one large circle in which the players 
are numbered off by twos. The ones represent a team and the twos 
represent another. 


Example Game 


PLAYERS 

At least 10 players are needed. 

FORMATION 

A large single circle is formed of players facing inward. The players 
number off by twos. One person is designated as captain on each team. 

ACTION 

When a signal is given, each captain begins passing a beanbag or ball 
around the circle. The first team to return the ball to its captain wins. 

VARIATIONS 

a. One captain passes the object to the right, and the other captain 
passes object to the left. 

b. One team faces inward, the other outward. 

c. Captains must stand side by side in this variation. Upon 
signal both begin passing ball to the members of their team. 
Because of the position of the teams, one ball is always be¬ 
hind the other as they are passed around the circle. Players 
of one team try to pass faster than members of the other so 
their ball will pass the other ball. A point is scored when¬ 
ever this happens. The game becomes very exciting if the 
direction of the balls is reversed whenever the leader blows 
his whistle. 


181 


Example Game 


PLAYERS 

A minimum of 10 players is required. 

FORMATION 

A large single circle, made up of two teams (ones and twos) each having 
a captain, is formed. 

ACTION 

When the signal is given, each captain turns to the right, runs all the 
way around the circle, touches the team member who was standing at his left, 
and then steps into his place. The player who has been touched runs around 
the circle and takes the the place of the team member who stood at his left, 
etc. The game ends when the last player is standing in the captain's 
original place. 


Example Game 


PLAYERS 

A minimum of 24 players is needed. 

FORMATION 

A number of files are arranged as the spokes in a wheel. The captain 
of each team stands at the hub of the wheel. 

ACTION 

When a signal is given, each captain turns to the right, runs around 
the entire wheel, and touches the second player who repeats the performance. 
The captain retires to the end of the line. The game is finished when the 
captain arrives in his original place at the head of the file. 

SHUTTLE RELAYS 

This is practically the same as the file formation except that each 
file is divided in half. One half is placed 20 feet from the other half. 

The players of one half face those of the other half. The captain stands 
at the head of one file. 


Example Game 

PLAYERS 

Two teams, consisting of at least six players, are needed. 
FORMATION 

The shuttle formation described above is used. 


182 


ACTION 

When a signal is given, the captain of each team runs, touches the 
first player of the other half of the file, and retires to the end of that 
line. The touched player runs back to the first file and starts the player 
who was standing back of the captain. The game ends when the captain 
arrives opposite from the place he originally stood. 

VARIATIONS 

The players may walk, skip, or bounce a ball instead of running. 

Relay Type I 

The players perform a designated act in place. The formation used 
are the file, circle, and line. 


Example Game 


PLAYERS 

A minimum of 20 players is needed. 

FORMATION 

Two lines, consisting of an equal number of players facing one another, 
are formed. One member of each team is designated as captain. He stands 
at the head of the line. The players hold hands down the line. 

ACTION 

When a signal is given, the captain of each team squeezes the hand of 
the next player, who passes the squeeze on to the next player, etc. When 
the last player receives the squeeze, he raises his free hand to show the 
leader that his team has finished. 

OTHER GAMES NOT REQUIRING EQUIPMENT 

1. The players stand one behind the other in file formation. The 
right, left, or both hands are raised high over the head of each, 
when the signal is given, the last person slaps down the hand of 
the person in front of him, who repeats the action. The first 
team in which all hands are down wins. 

2. The players stand in file formation and bend one or both arms at 
the elbows. When a signal is given, the last player places the 
palms of his hands against the elbow of the player ahead and 
pushes. This player in turn passes on the push. When the first 
player in the line receives the push, he holds his hands out in 
front of him at shoulder height. This indicates to the leader 
that the team is finished. 


183 



3. 


The teams assume file formation. The first player claps hands, 
stamps right foot once, turns around, and touches the player be¬ 
hind him. This player repeats the action. When the last player 
has completed the action, he raises his hands over his head to 
indicate to the leader that his team has finished. 

EXAMPLES OF GAMES USING EQUIPMENT Q 

1. The players stand in line formation. The teams may either face 
one another or face away from one another. When the signal is 
given, the first player passes a folding chair to the next player 
who continues the action. When the last player receives the chair, 
the entire line faces about; and the chair is passed up the line 
to the captain. He sits upon it to indicate to the leader that his 
team is finished. 

VARIATIONS 

1. Each player may be required to sit upon the chair, raise both feet 
off the floor, and clap his heels together three times before he 
passes it to the next player. After the last player has completed 
the action, the entire line may face about and simply pass the 
chair back to the captain. (This game may be played in the circle 
formation also.) 

2. Players in file formation stand with feet astride. The captain 
upon receiving the signal, rolls a ball between the legs of the 
players. When the last player gets the ball, he runs to the head 

of the line and repeats the action. The game ends when the captain 
is back at the head of the line. 

3. The captain attempts to roll the ball into a hoop 20 feet away. 

One point is scored if the ball stays in the hoop. The captain 
then runs up to the hoop and throws the ball back to the next 
player, who in turn attempts to roll the ball into the hoop. When 
the second player has taken his turn, he retires to the end of the 
line; and the third player has his turn. The captain stays at the 
hoop to return the ball for each player. The game is also played 
against time. The first team to complete the round receives 5 
additional points which are added to the points scored by the 
players. 

VARIATIONS 

This might be used as a skill developing activity for baseball or 
basketball. For this purpose, the hoop should be suspended, and the 
players may attempt to pitch the ball through the hoop overhand or un¬ 
derhand, depending upon which skill the leader wishes to develop. 


184 


Relay Type II 


The players leave their places in line, go to a specific place, and 
perform a required act. (This type is particularly adapted to file form 
relays and, to some extent, the spoke form.) 

Example Game 


PLAYERS 

A minimum of 10 players is required. No equipment is needed. 
FORMATION 

Two or more files are formed having an equal number of players. The 
appointed captain stands at the bead of bis file. 

ACTION 

When the signal is given, the captain of each team runs to the desig¬ 
nated place (line, wall, or fence) and returns to touch the second player 
who repeats the action. The captain meanwhile retires to the end of the 
file. The game ends when the captain is back in his original place at the 
head. (If the lines are uneven in number, the captain must perform the 
action twice to equalize the number of players running. In this case the 
game would end when he had completed his second trip.) 

Example Game 

The players assume file formation. The procedure is the same as in 
the preceding game except that the players must stoop when they reach 
the designated place and before returning to touch the next player. Or 
they may be required to sit, kneel, or perform some similar act before 
returning. 

VARIATIONS 

The entire team may move as one unit. A few of this type follow 
Example Game 


PLAYERS 

Ten players or more are needed. 

FORMATION 

Two or more files, having an equal number of players are formed. 
ACTION 

The team is required by the leader to touch a particular object such 
as a chair. All the members of all the teams run and touch the mentioned 
object. They then return to their places in line. The first team back in 


185 



place wins a point. The leader may require the player to touch a type of 
material such as iron, wood, leather, or stone. To provide variety the 
leader may require the players to touch a certain player. That player begins 
to run and leads the others on a lively chase before they suceed in touching 
him and returning to their places in line. 

EXAMPLE GAMES USING EQUIPMENT 

1. The players form into a file. The first player runs to the desig¬ 
nated place, knocks down indian club, runs back to the line, and 
touches the second player. This second player sets the fallen club 
up, etc. 

VARIATIONS 

Instead of individual players running, players may run in sets of twos 
or threes. They may hold hands as they run and as they perform the act. 

Example Game 


PLAYERS 

Twenty or more players are needed. 

FORMATION 

Players form into two or more double files. (A double file is two 
files of players, standing side by side and holding inside hands.) 

ACTION 

Upon receiving the signal the first two players on each team run to 
the designated place, holding inside hands. One player knocks down indian 
club, and the other sets it up. They hold hands throughout the action. 

They run back and touch off the next couple who repeat the action. The 
first couple, meanwhile, retire to the end of the file. The game ends when 
the first couple arrives back at their original place. 

Relay Type III 

The players leave their places in line, go to a certain place in a 
certain way, and return. The form of locomotion is the important factor 
in this type of relay. Formations best suited to this type are the circle, 
shuttle, and file. 

Example Game 

PLAYERS 

A minimum of 10 players is required. 


186 



FORMATION 

Two or more files of an equal number of players are formed. 

ACTION 

When the signal is given, the first player in each line hops on one 
foot to a designated place, returns to bis original place, and touches 
off the second player, who repeats the action. The first player, meanwhile, 
retires to the end of the line. The game ends when the first player is back 
in his original place at the head of the file. 

VARIATIONS 

Each player is required to use a different form of locomotion while 
proceeding from his place in line to the designated point and returning. 

The leader does not instruct each player in what form of locomotion to use 
but instead allows him to make his own selection. For example, the first 
player may run, the second may walk, the third may skip, the fourth may run 
backwards, etc. 


Forms of Locomotion (Without equipment) 


1 . 

Run and whirl 

5. 

Hop on one foot 

2. 

Walk 

6. 

Hop on both feet 

3. 

Run 

7. 

Walk or run backwrd 

4. 

Skip 




8. Duckwaddle (Player stoops, grasps both ankles, and waddles forward 
while holding his ankles.) 

9. Rabbit Hop (Player places both hands on the floor and hops forward 
like a rabbit, placing both hands on the floor at each hop.) 

10 Elephant Walk (Player walks on all fours, keeping the legs stiff.) 

11 Crab Walk (Player is in sitting position with bands behind his 
back at the start. When the signal is given, he lifts his body 
off the floor and walks, supporting his weight on his hands and 
feet. He may walk forward or backward whichever the leader 
determines.) 

12 Rolling (Player lies with body parallel to starting lines and rolls 
to the finish line. He is permitted to get up after arrival at 
finish line and run back to the starting place.) 


187 


Forms of Locomotion for Two Players 

1. Wheelbarrow (One player walks on hands while the other player holds 
his feet. Position is reversed at halfway mark and players continue.) 

2. Siamese Twins (Players stand back-to-back and hook elbows. One 
person is running forward and one backward. When they reach the 
designated place, they do not turn around. Therefore, the player 
who ran backward originally now runs forward.) 

3. Pick-a-back (One player rides on the back of another.) 

4. Sliding (Players bold both bands and slide sideways to the finish 
line and back. Or they may place their hands on the shoulders.) 

5. Horse and Rider (Players stand, one back of the other, and the 
rear player places his hands on the shoulders or hips of the player 
in front.) 

Forms of Locomotion for Three or More Players 

1. Link (Players stand back of one another with their hands on the 
shoulders or hips of the player ahead. They proceed in a fast 
walk.) 

2. Chain (Players rest left hand on shoulder of person ahead and bend 
their right legs at the knee so that the player back of them may 
grasp the ankle with his right hand. Proceed forward in a hopping 
fashion.) 

EXAMPLE GAME USING CHAIN 
Players 

Ten or more players are required. 

Formation 

Two files of an equal number of players hooked together in chain 
fashion. 

Action 

When a signal is given each team starts hopping around. Whenever the 
line is broken, tbe two players who caused the break are removed and the 
team continues hopping. The first team to be reduced to two players loses. 

3. Chariot (Three players stand in a triangle formation; the two rear 
players clasp inside hands. The person in front holds each of 


188 


these two players outside hands.) 


Forms of Locomotion (Requiring Equipment) 

1. Balls (Players may dribble ball with hand, dribble it with foot, 
juggle it in the air, or kick it as they proceed forward.) 

2. Beanbags (Players may kick beanbags, juggle them in the air, bal¬ 
ance them on one foot, balance them on their heads or on their 
foreheads as they proceed forward.) 

3. Hoops (Players may roll hoops, drop a hoop over the head, or take 
a step and drop a hoop overhead and proceed forward in that 
fashion.) 

4. Inner tube Rubberbands (Players are required to place bands on 
ankles and hobble forward.) 

5. Newspapers (Players stand on one piece of newspaper with both feet, 
jump to second piece in front, take piece from behind and place it 
in front, etc.) 

VARIATIONS 

Use some of the above mentioned forms of locomotion but have two 
players of the same team perform at the same time and hold hands as they 

proceed. 


Forms of Locomotion for Two or More Persons 
1. Wands-Centipede (Two or three players stand astride a bat or wand, 
each holding wand with both hands--one hand in front and one hand 
back of the body. Proceed without letting go of the wand. 

Note: The reader will see how effectively type III relays may be used 
to develop skills for the more highly organized games. A dribbling relay may 
develop basketball skills; dribbling with the foot may develop soccer skills. 

Relay Type IV (Combination of II and III) 


In this type of relay the players proceed to a designated place in a 
certain way, perform a specified act, and then return. 

Note: The file formation is best suited to type IV relays. This 
type of relay is especially suited to preparation for ski11-developing 
games and as a lead-up to high organized games. 


183 



Example Game 


PLACERS 

A minimum of 10 players is needed. 

FORMATION 

Two or more files having an equal number of players. 

EQUIPMENT 

Two basketballs and one or two basketball hoops are required. 

ACTION 

When a signal is given the players dribble the ball to a certain place, 
attempt to make a basket, dribble ball back to their team, and touch off the 
next player who repeats the action. First player, meanwhile, retires to the 
end of the line. The game ends when the first player is back in bis original 
place at the head of the line. The first team finished receives two points 
in addition to two points for every basket made. The team with the highest 
score wins. 


Other Example Games 

The first is similar to the above game, except that the players dribble 
a hockey ball around certain obstacles and attempt goal in order to develop 
their hockey skills. In the second the players dribble a soccer ball around 
obstacles to a certain point and then attempt goal. 

Note: Other variations of type IV relays, other than skill-developing 
games, may be worked out by the leader if he combines suggestions for types 
II and III. 

Summary 

In conclusion, the fact should be emphasized that relays are one of the 
finest types of low organized games and an integral part of every playground 
or indoor games program. They are competitive which makes them interesting 
to all groups. They may be as active or quiet as the leader desires. Of all 
the low organized games, they are the most varied and the most adaptable. 
Every leader should be familiar with them and use them to advantage. 


190 


INDIAN GAMES 




Ring and Stick Game 


MATERIAL 

1. A ring made of dried marrow bone (round steak bone) may be used. 

2. The stick may be a twig from a tree. 

3. The ring is tied to the end of the stick with a string or piece of 
leather. 

OBJECT 

1. The object of this game is to catch the bone on stick with fewest 
trials. 


Sand Bag Ball (Alaskan) 

The Eskimos play this game with a seal skin ball three quarters full of 
sand. The ball is about the size of a baseball. The players kneel in a 
circle or around a small area of ground. The ball is tossed into the air, 
and the players strike at it with their open palms to keep it in the air. 

If a player strikes at the ball but misses it, he is eliminated. 

Stick Matching Game 


MATERIAL 

1. Two sticks made of flat pieces of wood, card board, or of doctor's 
throat swabs are needed. 

2. Paint Indian designs on the sticks. 

OBJECT 

1. Throw the sticks into the air. 

2. See whose sticks match when they land on the ground. 

FOREIGN GAMES • 


Bounce the Ball (Japanese) 

Dash the ball to the ground. Turn around and face about in time to 
slap the ball back on the rebound. Do this five times in succession. This 
can be used as a stunt or as a game. The object of the game would be to 
see who could perform the stunt the most times without missing. 

Chinese Puzzle 

The group stands in a circle formation holding hands. "It" leaves the 
group, and while he is away the circle tangles itself up into a Chinese 


191 


puzzle without breaking hands or changing grips. "It" then returns and 
tries to untangle the group without breaking joined hands and to get the 
group back into circle formation. 

Fox and Geese (A European Game) 

EQUIPMENT 

A board similar to the one shown in the diagram is needed. Nine men, 
eight of one color (the geese), one of another color (the fox) are neces¬ 
sary. 

INSTRUCTIONS FOR MAKING 

Lay out the board on a cardboard or wooden base, drawing figures as is 
shown in the diagram with a colored pencil. Make the men of washers, bottle 
caps, checkers, cardboard, etc. Finish by shellacking. 

DIRECTIONS 

The object of the game is for the eight geese to corner the fox so that he 
cannot move. The geese may move only toward the center or sidewise, never 
backward. The fox can move anywhere he pleases. Moves are made along the 
lines one space at a time. The fox can jump a goose as in checkers and re¬ 
move the goose from the board. The goose can never eat the fox; but should 
the fox neglect to eat (jump) a goose, then one of the captured geese may be 
restored to the board. The starting set-up is indicated in the diagram. 



192 












Fox and Geese (Variation) 

OBJECT OF GAME 

1. For the geese to pen up the fox so that he cannot move. At least 
six geese are required to pen up the fox. 

2. For the fox to capture twelve of the geese. 

The fox begins the play and the players then move alternately. Geese 
may move from one position to the next along any line. The fox may move any¬ 
where and may jump over a goose and capture it if the space beyond is vacant. 

If the geese are played skillfully, they usually win. Some rules limit the 
geese to forward moves. Players alternate in taking the part of the fox. 



Guithi (African) 

Guithi is similar to Wari. The game is played in two opposite rows of 
six holes, with a receptacle at each end to hold captured counters. In 
Kikuyu the game is played in holes dug in the ground and marble shaped seeds 
are used as counters. In Cameron, on the west coast, pebbles are used in a 
hollowed out board. For temporary play use two muffin pans placed end to 
end and use a cup for captured marbles. Small marbles are the most satis¬ 
factory counters. 


193 
















PROCEDURE 

1. Either player may start the game by picking up all the marbles in 
one of the cups on his side of the board and dropping them one at a 
time into the various holes on the board. He must drop them 
consecutively but may go clockwise or counter clockwise. Also, he 
must drop all of them even though the last ones fall in the oppon¬ 
ent's territory. Noting the hole into which his last marble falls, 
the player picks up all the marbles contained in it, reverses 
direction, and drops one marble into each hole in this new direction. 
When he has dropped all the contents of that hole, he again picks 

up all the marbles in the last hole into which the last marble 
dropped and retraces his steps, dropping a marble in each hole. The 
player continues to do this until his last marble drops into an 
empty cup. Then he "falls" and the play passes to his opponent. 

2. A player does not "fall", however, until he has played on his oppon¬ 
ent's side of the board. If he falls on bis own side, before having 
crossed to the other side, he continues to play, starting with any 
hole that contains two or more marbles. 

3. A play can never be started with a single marble. When a player 
has only a single marble on his side of the board he can not play. 

He loses his turn and his opponent continues until the one who lost 
his turn is again able to play. 

4. When a player "falls" into an empty hole on his own side, he cap¬ 
tures all the marbles in the opponent's hole opposite and also takes 
the one in his own hole. If the hole opposite the one where he 
"falls" is empty, be may take or leave his own marble whichever 
seems to be more advantageous in view of the next play. (He usually 
takes it.) 

5. Should there be one or more empty holes on his own side next to that 
into which his last marble fell, a player also captures the marbles 

in his opponent's holes which are opposite the empty ones on his 
side and continuing as far as the series of full holes extends op¬ 
posite his empty ones. An empty hole in the opponent's line 
opposite an empty one on his side stops him. 

6. When neither player can play, each takes the marbles remaining on 
his side of the board. 

7. The player capturing the most marbles wins the game. However, this 
is only the first skirmish. The object of the entire game, which 
may take all afternoon, is to capture all the opponent's marbles. 


194 


THE RULES IN BRIEF 

1. There are two parallel rows of six holes each. 

2. Four marbles are placed in each hole at the beginning. 

3. Each player in turn empties the contents of any hole into consecu¬ 
tive holes counter-clockwise or clockwise around the board. 

4. Captures are made when the final marble in a move falls in an enemy 
hole to make a total of two or three marbles. Consecutive Iwos and 
threes are also captured if they occur in the sequence. 

5. If the enemy cups are empty a player must feed to them, if possible. 
If no move feeds he wins all marbles in his territory. 

6. If the player's cups are empty and the opponent cannot feed to him, 
the opponent gains all the marbles left. 

7. A few final marbles chasing endlessly around tne board are divided 
by the players as they pass through their territory. 

Pangie-Chang-Nan (Korea) 

Two teams, each having a captain, are required to play this game. 

The lines face one another. These teams are represented by lines A and B 
in the diagram. The captain of the A line hides a ring or some other small 
article somewhere about the person of a player in bis line. Then the play¬ 
ers in line B try to guess which player has the article. Three guesses are 
allowed. If line B succeeds it receives the object to hide; if not, line A 
moves forward one step and hides the article again. Every time a line hides 
the object so well that it is not found, it moves forward one step. The line 
of players which first reaches the middle line (goal) wins the game. 


A 




B 


Siga (As played in Colombo and Ceylon) 


EQUIPMENT 

A playing board containing five squares each way, four shells, stones 
or sticks having one side marked, and two counters (men) for each player are 
needed. 


195 





PROCEDURE * 

The players take turns throwing the stones or sticks. The first to 
throw "one" enters a man on the board. The object of the game is to get 
both men around the 24 squares and into the center goal. An opponent is 
sent back to the beginning (chopped) by being overtaken. 

SCORING 

One mark up counts 1; Two up counts 2; Three up counts 3; Four up counts 
4; None showing counts eight. Additional throws are granted for throwing 
1 and 8 and for chopping the opponent. When a man is chopped, he begins 
again with a throw of one. A count may not be divided between counters ex¬ 
cept at the end of the game. 



Triangle Game (Greek) 

A triangle measuring about 2 feet at the base and about 3 feet from the 
base to the apex is drawn on the ground. The players stand 15 or 20 feet 
from the base and throw stones (the Greeks used nuts) into the triangle 
The score is indicated by the place the stone falls. No score is given if 
the stone falls outside the triangle. The players throw three consecutive 
times, and the first player scoring 50 points wins. 


Wari (African) 

The natives of the Gold coast play the game Wari, on a board hollowed 
out into two parallel rows of six cups. At the beginning of the game, there 
are four pebbles in each cup. A convenient substitute for the African equip- 
ment is a muffin pan and marbles. 


196 











The players A and B sit facing each other with the board between them. 
It is convenient to place a receptacle at the right of each player in which 
he may deposit his captured pieces. At the opening of the game each of the 
twelve cups contain four marbles. 


RULES 

1. There are two parallel rows containing six cups each. 

2. Four marbles are placed in each cup at the beginning of the game. 

3. Each player in turn empties the contents of any cup into consecutive 
cups counter-clockwise around the board. 

4. Captures are made when the final marble in a move falls in an enemy 

cup, making a total of two or three marbles. Consecutive twos and 
threes are also captured if they occur in the sequence. 

5. If the enemy cups are empty, a player must feed to them whenever 
possible. If no move feeds them he wins all the marbles. 

6. If the player's cups are empty and the opponent cannot feed to him, 
the opponent takes all the marbles left. 

7. A few final marbles chasing endlessly around the board are divided 
by the players as they pass through their territory. 


Player B 6 5 4 3 2 1 


Player A M N 0 P Q R 


Miscellaneous Games 


Jack Knife Baseball 

This game may be played in innings as baseball. If it is played by 
teams, three outs by one team brings the other team to bat. If individual 
players compete, each player gets three outs. The knife shall be placed so 
that the large blade is sticking into the surface with the end of the knife 
resting on the surface. The index finger shall be placed near the end of the 
knife and lifted so as to flip the knife end over end. The position in which 
it comes to rest determines the move or score the player makes. Scores are 
indicated in the accompanying diagram. 


197 





EQUIPMENT 

Equipment for playing this game consists of a piece of broom handle 
about six inches long, tapered to a point on each end; and a paddle or bat 
about two feet long, including handle, and about six inches wide 

T H E GAM E 

The game may be played by two teams or two individuals. If teams play, 
the players select two captains to choose sides. After sides are chosen, 
another choice is made for bats. The only base required is a home base--a 
circle on the ground about six feet in diameter. The players number off to 
determine their turn at bat. The fielders scatter themselves over the play¬ 
ground and the game is begun. Batter number one steps into the ring and 
bats the "cat," as the pointed stick is called, out into the playing field. 

The more "nervy" players make an attempt at catching it. If one of them is 
successful, the batter is out and batter number two takes his turn. 

If the "cat" is not caught, the fielder throws it toward home plate. 

If he succeeds in throwing the "cat" so it lands within the limits of the 
circle, the batter is out; if not, the batter has the privilege of tipping 
the cat by striking it on one of the pointed ends so it will fly into the 
air. While it is in the air, he strikes it with his paddle and knocks it 
as far as he possibly can. This process is repeated twice. Scores are made 
by taking the number of paces or lengths of paddle from the position of the 
’cat" to the center of home plate. This is usually guessed at by the batter, 
and if any of his opponents doubt his guess, the distance is measured. If 


198 



















the actual paddle lengths are more than the guessed distance, the batter is 
safe; if less, he is out. After three outs, sides change. Nine innings con¬ 
stitute a game. 


Washers 

In southwestern United States the game of washers has been popular for 
a long time. The game was originally played with silver dollars; washers 
of the same size are now used. Six washers are used in the game, making the 
cost of equipment only five cents. 

The game is patterned after horseshoes. Small holes are cut in the 
ground about twelve feet apart; tin cans may be used indoors. As in horse¬ 
shoes, the game may be singles or doubles. Each man pitches three washers 
toward the hole; ringers count five, unless cancelled by one of the oppon¬ 
ent’s landing on top. Other washers count one for each landing nearer the 
hole than the opponent's similar to the scoring in horseshoes. The game is 
21 points. The side winning the previous throw leads off on the following 
round. 

INDIVIDUAL GAMES • 


Broomstick Quoits 


EQUIPMENT 

Make four rubber quoits as follows: Cut a 30 inch length of old garden 
hose, whittle a small wooden plug that will fit snugly into one end, draw 
the other end around, and fasten by tackling through the rubber into the 
wood. After the joint is taped, the ring is ready for use. 

THE GAME 

Set wooden pegs made from broom sticks some distance apart and attempt 
to toss the rings over them. Only ringers count and topping the opponent's 
ringer cancels both. Singles and doubles may be played as in horseshoe 
pitching. Five points make a good game. A distance of 18 feet is suggested 
for adults which may be shortened to six or eight feet for small children. 

If the stakes are kept close enough together so that frequent ringers are 
made, this is a popular game. 

Cats and Dogs 


EQUIPMENT 

Two small articles, such as a box or pencil, that can be easily passed 
from hand to hand are needed. 

FORMATION 

The players sit in rows, circles, or around the room. 


199 


THE GAME 

The player (number one) at one end of the line turns to his neighbor and 
says "I found the dog.” The neighbor asks "The what?” Number one replies, 
"The dog," and passes the box to number two. This player then turns to 
number three and says, "I found the dog." Number three asks, "The what?" 
Number two has to turn and repeat the question to number one, "The what?” 
Number one answers to number two and number two to number three, "The dog." 
Two passes him the box. Number three then takes up the story and tells num¬ 
ber four, "I found the dog," but number four does not understand and asks, 

"The what?" Each time the question goes back one by one to the first player, 
and the answer is relayed back before the "dog" is passed to the next player. 
Meanwhile the pencil is started at the other end of the line in the same way, 

"I found the cat." 

The fun begins when the "dog" and "cat" meet and pass each other, and 
each player has to pass on question and answer from both sides. The playing 
continues until "dog" and "cat" have reached the opposite ends of the line. 

Does She Cackle? (Variation of Cats and Dogs) 

Number one asks number two, "Do you want to buy a hen today?" "Does 
she cackle?" asks number two. "She cackles," answers number one. Number two 
then asks the same question of number three, "Does she cackle?" asks number 
three; and number two must turn back to number one and ask, "Does she 
cackle?" "She cackles," is the answer. And so it goes around the circle 
or down the line; the question goes back each time to number one who answers, 
"She cackles." Starting at the other end the following questions and answers 
may be used. "Do you want to buy a rooster today?" "Does he crow?" He 
crows." 


My Square 


EQUIPMENT 

This game requires a five inch paper square divided by dots one-half 
inch apart arranged in lines also one-half inch apart. 


THE GAME 

From two to six people take turns joining by a line any two consecutive 
dots on the paper. The object is to add the last of the four sides to the 
square which is formed by joining the dots. The player who succeeds in 
completing a square puts his initials in it. When all the dots have been 
joined, the player whose initials appear most frequently is the winner. 


Note: Diagram shows an incomplete section of game only. 



200 










Tommy, Tommy, Turn 

This is a quiet game and can be used in small or large groups. The 
players, seated in a circle, are asked to do and say the same things as the 
leader. In full view of everybody, the leader places his left hand in front 
of him and with the right hand, starting with the little finger, touches the 
tip end of each finger on the left hand and says, "Tommy, Tommy, Tommy, 
Whoop (running the right hand from the tip of the index finger to the top of 
the thumb) Tommy." He then goes back, starting with the thumb, and says, 
"Tommy, Tommy, Tommy, Turn." The change comes on the little finger. The 
leader then gradually brings his hands down in front and clasps them together 
in a casual way. The real catch of the game is in the clasping of the hands. 
The leader answers, "Yes," when the player is correct and, "No," when he is 
wrong. 


Territory (A Knife Game) 

A five foot circle is drawn divided equally among the players. Lines 
drawn through the circle indicate each player's territory. The first player 
throws his knife into the circle with the large blade open. He attempts to 
stick his knife into some other player's territory. If the knife sticks, 
he draws a line from the point where the knife landed in either direction to 
the territory boundaries. The player who owns that particular piece indi¬ 
cates which portion he chooses to retain, and the first player adds the 
other portion to his own by erasing lines with his foot. A player continues 
to play as long as he sticks the knife into the earth successfully and 
continues to add to his territory. When a player's territory is eliminated, 
he is dropped from the game. The other players continue until all but one 
is eliminated. Two, three, or four players may start in one circle which is 
drawn in the dirt in such a way tht lines may be erased with the foot. 

Twelve Stones 


THE GAME 

Each child receives six stones and sits on the steps or ground in a 
straight row. Number one gets up, puts his hands behind him, and puts the 
stones in either one hand or the other. He then shows both fists to the 
second person who guesses which hand the stones are in. If number two 
chooses the correct hand, he receives a stone; but if he chooses the wrong 
hand, he gives up a stone. Number one then continues along the line in 
the same way. When number one reaches the end of the line, it is number 
two's turn. 

RULES 

1. If a person drops a stone, he can not pick it up unless it was 
knocked from bis hand. 

2. Each person has one guess only. 

3. The first person accumulating sixteen stones wins the game. 

See also: Pangie-Chang-Nam, page 195. 


201 


CHECKERBOARD GAMES 


Checkerboard Fox and Geese 

The object is for the fox to break through the line of geese and for the 
geese to try to shut up the fox with a marker on each side of him. Place the 
men as pictured--red checkers (geese) in the red squares and a black checker 
(fox) on another nearby red square. While the geese outnumber the fox four 
to one, they can only move forward like an ordinary man in checkers; the fox, 
however, can move either way as the king does in checkers. He does not jump 
the geese. Either side moves first. The game is over when the fox is cor¬ 
nered or when the fox breaks through the line of geese and reaches a square 
in the front row that the geese were on originally. 



Checker Puzzle Number One 

Outline the board with your checkers as shown in the diagram. You are 
not allowed to move a man; you may only jump and remove the man that you have 
jumped. The object is to have only one man left on the board after contin¬ 
uous jumping. 


Checker Puzzle Number Two 

Fill the fourteen black squares that outline the four outer sides of the 
board. The object is to move a man and jump a man until only one checker 
remains on the board. No double jumps are allowed. 


202 









































Diamond Checkers 

The object of the game is to occupy your opponent's two diamonds or to 
jump all his men off the board. Arrange the checkers as indicated. You are 
allowed to move your men only one square at a time. You may move straight 
or diagonally or to the side, but you can never move backward. You can 
make either one jump or a series of jumps so long as you are not moving 
backward. You are not allowed to occupy your own diamonds at any time. 




203 







































































































































Fanorona 




EQUIPMENT 

A board similar to the one shown in the diagram. 

Twenty-two men of one color, 22 of another. 

DIRECTIONS 

On a board 14 inches by 14 inches lay out the lines as indicated in the 
diagram with colored pencil or crayon. An attractive border may be placed 
about the edge of the board. Shellac. Make 44 counters, 22 of one color, 
and 22 of another. Marbles or bottle caps may be used. 

THE GAME 

Set up the board with one set of counters on the spots marked "X" the 
other set on the spots marked "0". Leave the double circle in the middle 
vacant. Two people play this game. The object is to jump your opponent's 
men and remove them. Men can move or jump as in checkers by following the 
lines indicated on the board. All men are the same as kings in checkers and 
jump or move foreward and backward. The game is won when the opponent's men 
are unable to move or are eliminated from the board. 

Friends 


THE GAME 

The game is played with 64 checkers, placing different colors on the two 
sides of the checker board. Use all the squares on the board. Two or four 
people may play this game. In starting place four checkers in the center 
four squares as is shown in the diagram. Then start playing by placing a 

checker of your color in a square next to one of your opponents checkers in 

such a way that one of your men is also on his side, either diagonally or in 
a straight line. This places your opponent in a line between two of your 
men, and you make a friend of him by turning the checker over so that your 
side is up. (Bottle caps may be used.) You now have three friends in a row. 
The other player does the same; then you play again, etc. 

RULES 

1. Any number of the opponent’s men--from one to six--may be captured, 
provided they are enclosed between two of your men. 

2. Men may be turned only on your own play. 

3. The line captured must be unbroken by a space or one of your own men. 

4. You must make a friend at each play. If you cannot, you may not 

play. 

5. Your opponent plays until it is again possible for you to make a 
friend when you play. You must play when possible. If neither can 
play again, the game stops. 

6. Often you can make friends in two or more directions. In that case, 
you may take only one line. 


204 


7. All the men between two of your men, in a line you capture, must 
be turned. 

8. The winner is the one who, when the squares are all filled, has 
more than half the "friends" on the board. When the game stops 
because neither can play, the player with the most "friends" wins. 

Go Ban 


EQUIPMENT 

A playing board 10 squares wide and 15 squares long is used. Twenty 
checkers of contrasting colors are needed by each player. 

THE GAME 

They are placed as shown on the diagram. The object of the game is to 
place five men of your color in a row, vertically, horizontally, or diagon¬ 
ally while preventing your opponent from doing the same. The first move 
from each side is forward as many spaces as the player desires. Thereafter 
either player can move a new counter forward, or one already in play forward 
or backward, right or left, but not diagonally, as many squares in one 
direction as desired. A player may jump one of the opponent's checkers from 
an adjoining square, vertically or horizontally, to secure a strategic posi¬ 
tion but may not take the checker jumped. When a player can move in such a 
way as to fence in one, two, three, or four of the opponent's checkers 
between two of his own vertically or horizontally placed, he may remove them 
from the board. Voluntarily coming between two of the opponent’s men, you 
are safe. The game is won by the player who first arranges five of his color 
in a row in any direction. 


Hasami Shogi 

The object of the game is to reduce your opponent to one man. Place 
eight checkers on the squares directly in front of you. You are allowed to 
move as far as you wish along a straight line in any direction. If you can 
trap one of your opponent's men between two of yours, you may then remove 
his men from the board. If you move your man between two of your oppon¬ 
ent's men voluntarily, your man is not subject to capture. Capture applies 
only on horizontal or vertical moves and not on diagonal ones. 

Human Checkers 


EQUIPMENT 

A board similar to the one in the diagram is needed as are eight men, color, 
and shellac. 


DIRECTIONS 

Paint nine spots in a row on a cardboard or wooden base, or bore holes 
in wood if wooden peg or golf tee men are used. Paint counters of cardboard 


205 




or wood, four of one color, four of another. 

THE GAME 

Place all men of one color at one end of the board, all of the other at 
the opposite end, leaving the center hole blank. The object is to get the 
men of one color, by moving or jumping one at a time, to the other end of 
the board. In this way the colors are lined up on the opposite end of the 
board and the center hole is vacant. No backward moves are allowed. 

SOLUTION 

(24 moves.) Move L, jump R, move R, jump L, jump L, move L, jump R, 
jump R, jump R, move R, jump L, jump L, jump L, jump L, move R, jump R, 
jump R, jump R, move L, jump L, jump L, move R, jump R, move L. 


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Mill 

Two players, each with 12 men of contrasting colors, take turns placing 
a man on the board. The object is to arrange three in a row. If one is suc¬ 
cessful in making a row of three, he may remove one of the opponent’s men 
from play (except men in a row of three which may be touched if there are 
other men on the board). 

When each player has placed his twelve men on the board, play is con¬ 
tinued by moving alternately from one spot to another along the lines. Take 
opponent's men each time a three is made. Good players try to place two rows 
with one piece in a pivotal position, so that each time it is moved, a row is 
completed. When one player is reduced to three men, he is released from the 
necessity of following the lines. He may jump his man to any open spot on 
the board. The player wins the game who first reduces his opponent to two 
men. 


Triangle Peg 


EQUIPMENT 

A board painted with spots as is shown in the diagram is needed as are 
fourteen men of one color. 

DIRECTIONS 

Use a cardboard or wooden base, paint or crayon spots, and shellac. 

Make men of any material. Wood discs, washers, or bottle caps may be used. 

THE GAME 

Place the men on the spots leaving the top spot vacant. Try to get all 
the men off the board by jumping as in checkers. Remove each man as it is 
jumped. In the end the last man should be on the top point. No moves 
except jumps. 

SOLUTION 

Numbered as in the diagram: 4 jumps to 1, 6-4, 1-6, 12-5, 14-12, 11-13, 
7-2, 10-3, 13-6, 3-10, 15-6, 6-4, and 4-1. 


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SIDEWALK GAMES 


Hop Scotch Variations 

GAME I 

Four or five people may play this game. The first player throws the 
stone into the number one square and hops up to square eight and back. The 
first player continues as long as he does not throw the stone in the wrong 
space. When it is thrown in the wrong space, the next person plays until he 
makes a mistake. The game continues until one person has gone up and down 
the board, thereby winning the game. 

GAME II 

This game is similar to game number one with regard to rules and the 
number of players. Players go from one to eight and back. The winner is 
the one who finishes first. The difference is in the layout of the squares 
as is shown in the diagram. 


208 




GAME | GAME 2 

Sidewalk Baseball 

If possible divide the players into teams of equal number. The cap¬ 
tains toss for first bat. The team "at bat" takes turns tossing beanbag or 
an old rubber heel into the diagram which has been drawn on the sidewalk. 
Bottle caps or stones are used as "men" on these small baseball diamonds 
which are drawn in front of and close to the throwing line. When a man is 
on base, the team places a bottle cap on the proper base and moves the cap 
around the bases as the game progresses. At the end of the inning (three 
outs), the bases are all cleared for the next inning; and the other team 
goes to bat. 


3 BASE 

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TRIPLE 

DOUBLE 

PLAY 

\ S T BASE 

HOME RUN 

FLY OUT 

WALK 

HOME RUN 

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STRIKE 

OUT 


209 





























Sidewalk Checkers or Disc Snap 


COURT 

Use one cement block for a court; if the game is played indoors, draw a 
square three feet by three feet on the floor. Lay out within this court 10 
four inch squares, numbering them as is shown in the diagram. These squares 
or bases should be at least three inches from the court boundary. In the cen¬ 
ter of the court draw a rectangle eight by 12 inches and connect the corners 
with diagonal lines. This rectangle is the unlucky area called the "pit." 
Adjoining it on either side are bases number nine and 10. On one side of the 
court boundary is a check mark (x) which indicates the point at which the 
game is started. 

PLAYERS 

There may be from two to six players to a court. Each one of the play¬ 
ers should be equipped with a checker or bottle top as a shooter. Players 
shoot in turn using the thumb and forefinger to make the shot. The order of 
turns may be determined by a draw. 

THE GAME 

The object of the game is to advance the checker by a series of shots 
through the ten bases of the court in proper sequence. The first player to 
complete the round and reach base number 10 wins the game. 

RULES 

1. A player continues shooting until there is a miss. He resumes play 
on his next turn from the spot where the checker stopped. The play 
is a miss if the checker-- 

a. Fails to stop within or touching the proper base. 

b. Is shot out of bounds. 

c. Comes to rest touching a diagonal line of the pit. 

2. A player must return his checker to the starting point and begin 
the game over upon his next turn if the checker-- 

a. Is shot out of bounds in two consecutive turns. 

b. Comes to rest within the open space of the pit or touching 
a pit boundary line. 

c. Comes to rest on the line separating base number nine or 
base number 10 from the pit, as these dividing lines are 
dominated by the pit rather than by the bases. 

3. Players are allowed the following advantages: 

a. If in shooting a player strikes an opponent’s checker, he 
may have an additional turn and also skip the next base for 
which he was due. 


210 


B 


b. After a successful shot the player may move his checker to a 
more advantageous position for the next shot provided the 
checker is not entirely removed from the base. 

c. When the checker is shot out of bonds it may be returned to 
the boundary line at the point where it crossed over before 
the next turn. 

Sidewalk Tennis 

COURT 

Two sidewalk squares form the court. 

EQUIPMENT 

Either a tennis or sponge ball may be used. 

THE GAME 

Player A stands in space A, player B in space B. A serves the ball 
by allowing it to bounce first and then hitting it with the palm of his hand. 
The ball must bounce on the other side of the line in space B. Player B 
returns the ball either before it has bounced or after the first bounce by 
hitting it with the palm of his hand. If B fails to make a proper return 
(over the line and within space A), player A gets one point and another 
serve. If B makes a good return, A must try to do likewise. If A fails to 
make a proper return of B's volley, he loses the serve; and B receives a 
point and the next serve. Fifteen points equals game. Sidewalk tennis may 
also be played in doubles. 


211 





Spot Ball 


THE GAME 

Player A stands outside the circle on one side of the line; player B 
is opposite. The ball is served by A who throws it into the circle so it 
bounces into the other court. B tries to return it by batting it down with 
the open palm so that it will bounce into the circle and out toward A, who 
bats it back. The volleying continues until one misses. Rules are the 
same as in volleyball. If the server misses no point is given, but the oppo¬ 
nent gets the next service. Only the server can score. Fouls consist of 
stepping over the line or into the circle, failure to bounce ball into oppo¬ 
nent's court, and catching the ball instead of batting it when volleying. If 
the server fouls, he loses the ball. If the receiver fouls, server gets one 
point. Twenty-one points is game. Best two out of three win a set. If 
the score is tied at 20, a player must gain two points in succession to score. 

EQUIPMENT 

A rubber ball or an old tennis ball may be used. 

PLAYERS 

This is a game for two players. 

COURT 

Spot Ball may be played on any smooth ground or pavement which is three 
feet in circumference. Draw a circle and extend a line for several feet on 
two sides of the circumference. 

See also: Bounce the Ball, page 191. 


212 




COMBATIVE GAMES AND STUNTS 


Definition of a Stunt 

Stunts are forms of play which have grown from the desire to test one's 
ability. They stimulate the powers of co-ordination, suppleness of body, 
and the formation of such virtues as courage, self confidence, and determina¬ 
tion. They provide an excellent form of exercise, are easily organized for 
practice, are economical with regard to space and equipment, and are adap¬ 
table to many ages. They lend themselves to group organization, and give 
opportunity for student leadership. 

Bear Dance 


DIRECTIONS 

Squat on one heel. Extend the other foot forward. With back straight 
and arms extended forward for balance, rapidly shift the position of the 

feet. 

Chef's Hat Boxing 

DIRECTIONS 

Secure a number of new and unused paper bags just large enough to fit 
rather loosely over the average person's head. Place a bag on the head of 
each of the two boxers, extending down to his ears. At the signal, they box 
with open hands attempting to knock the other's hat off. They are not per¬ 
mitted to touch their own hats. 

Chinese Get Up 

DIRECTIONS 

Two persons sitting on the floor back to back, lock arms. They then 
try to stand up. 

Circle Wrestling 

DIRECTIONS 

Draw two three-foot circles on the ground side by side and touching one 
another. The two players stand in the circles and upon signal wrestle to 
throw each other out of his circle. When a player falls or steps out of his 
circle, he loses, if his opponent remains on his feet inside his own circle. 
Striking and unnecessary roughness are barred. 

Cock Fight 


DIRECTIONS 

The two players raise the left foot and grasp it back of them with the 
left hand. The right arm is Tree but must be kept close in to the side and 


213 


not used to shove, strike, or pull the opponent. At the signal, the two 
charge and shove each other, attempting to upset the other or cause him to 
drop his foot to the floor. Sometimes this event is played in a six-foot 
circle. This provides an additional hazard--that of elimination by being 
shoved out of the circle. Some leaders have the players put both hands on 
the foot raised behind but this is optional. 

Duck Fight 

DIRECTIONS 

Two players grasp their own ankles, and each tries to shoulder the 
other so as to make him either let go or fall over. 

Ear Hand Slap 

DIRECTIONS 

The two players stand facing each other. Number one stands erect and 
grasps the lobes of his ears. Number two holds his hands out in front at 
waist level, palms up. Choosing his time, number one releases his ears and 
attempts to hit number two’s hands before he can withdraw them. Number one 
has three chances and then they reverse positions and number two has three. 
Each time the aggressor hits the other's hands, be scores one point; each 
time the defender withdraws his bands in time, he scores one point. The one 
who scores the most points in the six attempts wins. 

Hand Slapping 


DIRECTIONS 

A stick ten inches long and as large as one's middle finger is needed. 
Player number one bolds out bis right hand, palm up, with fingers and thumb 
together. Place the stick on the hand with the end extended a few inches 
beyond the finger tips. He must keep his palm flat and not close his 
fingers. Number two faces number one, and has three attempts to grab the 
stick and strike the hand with it before number one can withdraw bis hand. Con¬ 
siderable strategy is needed to strike the hand successfully. One point is 
scored by the player doing the striking when he strikes the hand, and also 
when he succeeds in causing the other to withdraw his hand and drop the stick. 
One point is scored by the player holding out his hand each time he succeeds 
in withdrawing his band without being struck. After the three attempts they 
reverse their positions. The player wins who has the highest score in the 
six attempts. 

Hand Wrestle 


DIRECTIONS 

The two opponents stand with right hands firmly grasped and right feet 
braced against each other, the left foot being placed well to the rear to 


214 


secure as firm a stance as possible. At the signal, they try to throw each 
other. The one wins who causes the other to move a foot or touch any part of 
his body, except his feel, to the ground. The winner is challenged. 

Human Rocker 


DIRECTIONS 

Lie face downward, grasp the ankles, and rock the body backward and for¬ 
ward. The chest and abdomen must be held at a rigid curve. 

Indian Wrestle 


DIRECTIONS 

Two players lie on their backs facing in opposite directions, side by 
side, with adjacent arms locked. At a signal, the adjacent legs are brought 
to an upright position and inter-locked at the knees. The wrestle consists 
in trying to force the opponent to roll over from his position. 

Knee Spring 

DIRECTIONS 

"A” lies flat with his knees drawn up but his feet on the floor. "B M 
runs, and placing his hands on the knees of the one lying down, does a hand 
spring. As he goes over "A" assists by bracing the back of the one jumping. 
This helps to give momentum and also acts as a safety measure. 

Leap Frog and Forward Roll 

DIRECTIONS 

One player bends over and with knees slightly bent, places his hands on 
his knees or on the floor. A second player runs, places his hands on the 
first player's back and leaps over him. The second player then does a for¬ 
ward roll. The action is then continued. 

One Legged Hand Wrestle 

DIRECTIONS 

Each of the two players raises bis left leg behind and holds it with 
his left hand. They then grasp each other's right hand firmly. The object 
is to throw the opponent; that is, cause him to touch the ground with any 
part of his body except his supporting foot. The player also loses if he 
releases his raised leg. The winner is challenged. 

Poison Fight 


DIRECTIONS 

Place a block or Indian club on the ground. The two opponents stand 


215 


facing each other with the block between them. They place their bands on 
each other's shoulders. The idea is to cause the other to upset the block by 
pushing, pulling, throwing him, and tricking him so that he steps against it. 

Underhand Slap 


DIRECTIONS 

The two players stand facing each other. One holds out both hands side 
by side with palms up, and the other places his hands on the first play¬ 
er's with the palms down. The player with the hands underneath attempts to 
withdraw them quickly and strike the backs of the opponent's hands before he 
can withdraw them. He has three attempts and then they reverse their 
positions for three more attempts. Two points are scored for striking both 
hands and one point for striking one. The player with hands above scores 
two points for successfully withdrawing both hands and one point for with¬ 
drawing one. The player wins who scores the most points on the six attempts. 

QUIET GAMES O 

Acting Adverbs 


DIRECTIONS 

One player separates himself a sufficient distance from the group and 
the rest choose an adverb--”politely, sulkily, cheerfully, absent-mindedly"-- 
any of these would do. The player is then recalled and he puts questions to 
each one of the group, his aim being to discover by the tone of the replies 
what adverb has been chosen. The questions should be quite general, such as, 
"Eddie, do you like to play ball?" "Dick, have you been swimming at the 
High School pool this week?" 

Alphabet Game 

DIRECTIONS 

The equipment consists of 26 cards upon which are printed in large 
characters a single letter of the alphabet. The leader mixes up the cards 
and then shows them one by one to the group. It has been previously deter¬ 
mined what type of thing the letters shall represent, such as items in a 
grocery store, names of flowers, actors, trees, etc. When a letter is shown, 
the first child to name an item beginning with that letter is given the card. 
At the end of the game, the child with the most cards is leader for the next 
game. When a number of childern call out the same name together, the leader 
returns the card to the pack and selects another. 

Buzz 


DIRECTIONS 

One of the players starts the game by saying "One"; the next player in 


216 


the circle says ’’Two"; the next one "Three". This continues until the number 
seven is reached when the word "Buzz" is substituted for it. The next player 
says Eight", etc. until a multiple of seven, such as fourteen, twenty-one, 
twenty-eight, etc. is reached. The word "Buzz" is substituted for the right 
number. The word "Buzz" is also substituted for any number in which the word 
seven occurs such as seventeen, thirty-seven, etc. When seventy is reached, 
the counting proceeds as "Buzz-one," "Buzz-two," with seventy-seven being 
"Buzz-buzz." When a player says a number instead of "Buzz" or says "Buzz" in 
the wrong place, or calls out a wrong number, he must go to the open end of 
the circle and the first player starts the game over again by saying "One." 
Counting should only reach one hundred and then revert to "One" again in case 
there are players remaining. 

Grocery Store 

DIRECTIONS 

The leader says, "My father owns a grocery store, and the first thing 
he sold begins with a "P." The child who guesses the article becomes leader. 
This can also be played with drug store, fruit store, automobile agency, 
movie house, etc. 


Hangman 


DIRECTIONS 

One child is sent away from the group. The others choose the name of a 
movie actor or actress. The letters in the name are indicated by dashes. 
Suppose Kay Francis were chosen. The leader writes the following on a piece 
of paper: .. 

The child who has gone out is recalled and guesses a letter that is in 
the name. The leader fills it in its proper place. If, however, he should 
guess a letter that isn't in the name, the leader starts "hanging" him. 

That is, for one wrong letter he draws a head, for another, a body, then 
legs, feet, arms, hands, etc. If he is hanged, he must go out again. If he 
guesses the name, he chooses some one else to go out. 

New Orleans 

DIRECTIONS 

The players divide into two equal teams, A and B. Team B retires and 
decides on some trade or occupation, such as picking cherries or washing 
windows. They then advance to a line on which Team B is standing. As Team 
A advances, the following conversation takes place: 


Team A: 

Here we come. 

Team B: 

Where from? 

Team A: 

New Orleans. 

Team B: 

What's your trade? 

Team A: 

Lemonade. 

Team B: 

Get to work and give us some. 


217 



The players on Team A go through pantomimic motions descriptive of the 
occupation chosen, while players on Team B try to guess the trade. As soon 
as a player on Team B gives the correct answer, all of Team B chases Team A 
as far as their goal line, trying to catch as many as possible before they 
reach their goal. Any Team A player who is caught joins Team B. Then Team B 
chooses a trade, and Team A guesses. 

Pick the Right Hand Last 

DIRECTIONS 

Team A is given a pebble. They retire and go into a huddle and then 
give the pebble to one member of their team. Team A then lines up in front 
of team B, each member of team A holding out both hands in front with fists 
clenched. Team B, one by one, begins to eliminate the outstretched hands of 
team A by asking the member to open bis hand and show the contents. Team B 
tries always to select an empty hand as the object of the game is to leave 
the hand with the stone in it until the very last. If team B chooses the 
hand with the stone early in the game, the number of outstretched hands is 
counted and team B is given the stone to conceal. The first team to reach 
20 points loses the game. 


Quiet Game I 


DIRECTIONS 

The group is to be in circle form. The first player turns to the second 
and says, "You have an ’angel' face", or uses any adjective beginning with 
"A". Each player is allowed to call his neighbor something beginning with 
"A". When it becomes the leader's turn again, he begins the new circle with 
a letter "B". etc., until the letter "Z" is reached. 

Quiet Game II 

DIRECTIONS 

Place a ring on a long string and then tie the ends together. Children 
sit in a circle holding the string in front of them and pass the ring around. 

One player, who is "it", sits in the center of the circle and tries to fol¬ 
low the ring. At any point in passing he may say, "Stop". All must be still, 
and "it" tries to guess who has the ring. If he is correct, the one holding the 
ring becomes "it"; if wrong, the same player continues to be "it." 

Simon Says 

DIRECTIONS 

All players are seated except one who acts as leader. All close their 
fists and keep their thumbs upright. The leader says, "Simon says thumbs 
up," and keeps his fists closed with thumbs upright. All should imitate. 

He says, "Simon says thumbs down," and turns his fists so that the thumbs 


218 


are down. He may say, "Simon says thumbs wiggle waggle," and wiggle his 
thumbs from side to side. Everyone should follow. But if the leader should 
say, "Thumbs down", and perform the action, it should not be imitated. Any¬ 
one performing an action when the command is not preceded by "Simon says," 
is out of the game. The one who stays in the longest wins the game. 

The Pebble Game 

DIRECTIONS 

Two players place an odd number of pebbles between them, perhaps 15. 
Then each takes in turn one, two or three pebbles, as he chooses, and the 
loser is the one who in the end must take the last pebble. 

For example: if you get seven and your opponent eight, you win. If 
he gets nine, and you six, then he wins. Therefore, the first player to win 
must always take two pebbles, also if he leaves an odd number such as 1, 7 
or 9. 


Twenty-one Questions 


DIRECTIONS 

One player leaves the room while the others select the name of a person. 
The player then returns and questions the others. Only "yes" or "no" may be 
given in answer to his questions, which are of this order: "Is it a man?" 

"A real man?" "A fictitious man?" "Is he alive?", etc. The player must 
guess the name of the person before his twenty-second question. 

Who is the Leader? 


DIRECTIONS 

The group stands in circle formation. "It" leaves the group while the 
rest choose a leader. When "it" returns all the circle are making the same 
motion as that started by their leader. The leader constantly changes the 
motion. The group does likewise but they never look directly at the leader 
in such a way as to give him away. "It" gets three guesses to determine who 
is the leader. If he fails a new "it" is chosen. If he succeeds in iden¬ 
tifying the leader, the leader is "it." 

See also: Checker board games, pages 202-207; 

Does She Cackle, page 200; Twelve Stones, page 201; Chinese > 
Puzzle, pages 191, 192. 

HIGH ORGANIZED GAMES $ 


Line Soccer 


DIRECTIONS 

Divide the group into two teams. Line up a team at each end of the area. 


219 


(If out-of-doors, the penalty area of the regular field makes an adequate 
space; if indoors, the end lines of the basketball court make suitable end 
lines.) Two players or more from each team then come to the center of the 
area and face each other. The ball is thrown between them. Each pair try to 
put the ball through their opponent's line. The freedom of the entire area 
between the two lines is allowed the center players in which to pass, dribble, 
and kick the ball. They try to evade the enemy pair who try to prevent them 
from putting the ball through their line. 

Those on the baselines, try to prevent the ball from going through their 
line by trapping it, kicking it, or letting the ball hit any part of their 
bodies except their hands and arms. There are temptations for the players in 
the lines to use their hands, to prevent the ball from going through their 
line, to run out to meet the ball, and to kick it blindly towards the oppon¬ 
ent's line. To prevent this several rules have been devised. Use of the 
hands or arms counts one point against the team; and advancing more than one 
step in front of the line counts five points against the team. It is also 
possible to rule against kicking blindly, but this is seldom necessary since 
an appeal for cooperation and team work usually suffices to discourage players 
from using long kicks as futile efforts to score points. 

When the ball goes through the line anywhere below shoulder height, two 
points are awarded to the kicker's team. Often a player will kick tne ball 
through his own line inadvertently, and the points count against his team 
and for the other team. Often the ball is kicked over the shoulders or 
heads of the line players. This is usually caused by attempts to score from 
too great a distance and by blind kicks. One point is scored against the 
player's team who kicks the ball in this way. 

The pair in the center play until they score a goal or a foul is scored 
against them. If this is done quickly, however, it is often advisable to 
allow them a longer time to play. A time limit of one or two minutes 
might be set up, during which time these two play against the other two. 

When a goal is scored or a foul committed or the time limit has elapsed, 
the next two in the line come to the center of the area, and play starts in 
the same manner. The two retiring from the center go to the opposite end 
of the line from which they started. As each two retire from the center, the 
line moves across the end of the area. 

This is an intensely interesting game to most groups and teaches soccer 
elements. Every player must be on the alert in order to be ready to play the 
ball when it comes within his reach. It is also a good game for regular 
classwork in a gymnasium. Line soccer is suitable for all grades and for 
both boys and girls. 


Soccer Baseball 

DIRECTIONS 

The rules for this game are the same as those for baseball with the 
exception of one. The base runner may by tagged out, or the ball may be 
thrown at him; and if he is hit by the ball, he is out. The game utilizes a 


220 


soccer or large rubber ball which is not thrown but bowled to home plate by 
the pitcher. 


Wall Handball 


DIRECTIONS 

I. The Game 

a. Singles, doubles, "cut--throat" (3 players). 

b. Twenty--one points is game. A match consists of two wins 
out of three games. 

c. A point is scored only by the side serving. If the re¬ 
ceiver wins the rally he gains service. 

d. Only one hand may be used to return the ball, which may be 
played on the volley or after one rebound from the floor. 

e. After the serve, the ball need not strike the front wall 
first, but must hit it before it touches the floor. 


II. 


Serve 

a. Anywhere within the service zone. 

b. Must be served from rebound from the floor (three bounces 
allowed). 

c. Serve must land on floor back of short line, after striking 
front wall first. 

d. In doubles only one man serves in first half of the first 
inning. Both partners on each team serve thereafter. 

e. Side out on serve- - 

1. Two consecutive shots, two faults, one short, and 
one fault. 

2. Failure to hit front wall first. 

3. Partner serving out of turn. 

4. Served ball touching server. 

5. Served ball striking partner while outside service 
box. 

f. Shorts 

1. Strikes front wall but fails to strike floor back 
of short line fly. 

2. Strikes front wall and two side walls, before fal¬ 
ling back on short line. 

3. Strikes front wall, a side, and back wall, before 
falling back of short line. 

4. Strikes front wall, and either ceiling or back 
wall, before falling back of short line. 

5. Player's partner hit by served ball while in serv¬ 
ice box. 

g. Faults 

1. Stepping out of service zone. Partner stepping 
out of service zone before ball has passed service 


221 


line. 

2. Serving in doubles while a partner is out of box. 

3. Serving before receiver is ready (involves no 
penalty). 


III. Receiving Service 

a. Stand back of short line. 

b. Ball may be played on the volley or on the first rebound 
from the floor. 

c. Receiver has the option of playing a first short ball. 

IV. Hinders (rally played over) 

a. Returned ball striking opponent on way to front wall. 

b. Unintentional interference. 

V. Outs on Points (depending upon who served) 

a. Intentional interference. 

b. Returned ball striking partner. 

c. Failure to return ball legally. 

d. Being struck by ball after it has rebounded from the 
front wall. 

WARM UP 

1. Throwing ball to front wall with either hand and using all strokes. 

2. Clap hands briskly. This increases the circulation in the hands 
which prevents bruises. 

3. Drop ball to floor and use underhand stroke, either hand, practic¬ 
ing serves and kills. 

4. Practice back wall shots. 

5. Floor dips from front leaving rest position. 

6. Deep knee bends and various leg stretches. 

7. Body bends--front, back, side, rotate, rotate and bend. 

USE OF THE HAND IN STRIKING THE BALL 

1. Cupped hand--natural position, somewhat like shaking hands. 

2. Flat hand--fingers and thumb fairly straight and parallel. 

3. Fist--punched ball struck on heel of the hand and fingers. 

IMPORTANT PRINCIPLES AND STRATEGY 

I. Three most important phases of the game: 

a. Position on court. Theoretically in center court and on 
or just back of the short line. 

b. Stance. A good swing at the ball is determined by the 
position of the feet. 

c. Stroke. Underhand stroke is the best offensive one, and 
should be used whenever possible. 


222 


II. The keys to success in offensive handball are placement (lob) and 
passing (drive). Either is as valuable as a kill if out of reach 
of the opponent. As a rule, "take" the ball as low as possible. 

III. Angle your shots as much as possible; this prevents the opponent 
from getting set. Keep him on the move. 

IV. Know where your opponent is at all times and place ball accordingly. 
Watch him as long as possible. 

V. Try not to "telegraph" your shots; learn to feint. 

VI. If you are out of position for an offensive shot, play the ball so 
as to get your opponent into the back court. 

VII. Vary your services, kills, lobs, and drives but maintain a uniform 
style of play. 

VIII. Depend upon your peripheral vision to ascertain the position of 

your opponent; do not turn facing him and use your arm raised and 
bent at the elbow as a protection for the face. 

IX. When not playing the ball, maintain a semi-crouched position so 
you will be ready to move in any direction. 

X. Concentrate on each service. The service is at least 25 percent 
of the game. 

XI. When attempting a kill or pass shot combine with it the incurve 
or outcurve hook; either will double its efficiency. 

XII. Develop your movements on the court so that they become "second 
nature". Then spend your study on the strategy of the game. 


223 


Bibliography 


A Guide in Arts and Crafts; Ickis, Margaret 
The Art of the Story Teller; Shedlock, Marie L. 

Book of Wild Pets; Moore, Clifford B. 

Boondoggling; Chicago Parks Department 

Chicago Park District Art Crafts Bulletin No. 40 

Dictionary of British Folk Lore; Gomme, G.L., Volume I & II 

Dramatics for School and Community; Wise, Claude Merton 

Eighty-eight Successful Play Activities; National Recreation Association, 

New York 

Fundamentals of Handball; Phillips, Bernath E. 

Games for the Playground, Home, School and Gymnasium; Bancroft, Jesse M. 

Go and Go Mokur; Lasker, Edward 

Handbook for Recreation Leaders; Gardner, Ella 

How to Tell Stories to Children; Bryant, Sara Cone 

Modern Quotations; Stevenson, Robert Louis 

Nature Games; Vinal, William Gould 

Nursery Craft Book; 

Physical Education for Elementary Schools; Neilson and Van Hagen 
Playground Leaders' Manual, 1939, Cleveland Recreation Division 
Playgrounds--Their Administration and Operation; Butler, George D. 

Problems of the Actor; Calvert, Louis 

Recreation Bulletin, 1516, 3367, 3479, 3493, 3552, 3574, 3664, 3693, 3709, 
3711, 3752, 3766, 3793, 3814, 3917, 4006, 4033, 4049, 4093 of the 
Recreation Bulletin Service; National Recreation Association, New York. 
School Nature League Bulletin; American Museum of Natural History, New York 
Singing Insects; Ditmars, Raymond Lee 
Soccer for High Schools, Casewell, J.E. 

Social Games for Recreation; Mason, Bernard and Mitchel, Elmer 

Stage and School; Ommanney, Katharine Anne 

Story Telling; Lyman 

Thirty Kites That Fly; Hamilton, Edwin 

Note: Information and assistance given in the preparation of parts of this 

book by Mary Rita Deming and Mary Snayder is gratefully acknowledged 
as are the instructions in the Polish folk art, paper cut-outs, which 
were prepared by Dr. J. Parma Wycislik, a Polish American physician 
of Cleveland. 


224 












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